No Contradictions

by ©️Leslye Joy Allen

When I started to hear negative commentary about Kamala Harris’ racial and ethnic background, I started reevaluating how “White Supremacy” works again.

Many people are completely unaware that when the Greek explorer Herodotus named the continent “Αἰθιοπία” (romanized as Aithiopía”), his definition included the continents of Africa, India, and Southeast Asia. Herodotus’ term literally means “Land of Burnt Faces.”

Those kinds of cross-cultural connections and collaborations do not help white supremacy to flourish which is why you rarely hear anything about them. The objective of white supremacy is to make certain that peoples of color look to white folk, and white men specifically, for acceptance, guidance, deliverance, and redemption, but not to each other. Sexism works exactly the same way. A man, not a woman, may rule you and grant you favor in some screwed up patriarchal world as sexists imagine it.

African-American scholar W. E. B. DuBois’ heir apparent Vijay Prashad noted that many Indian men arrived in the USA in the late 18th and 19th centuries, married Black American women and disappeared from most histories. Suraj Yengde, both in his books and in his portrayal of himself in Ava DuVernay’s masterpiece film “ORIGIN,” noted that we must find reconnections with each other. His research on Dr. Bhimrao Ambedkar is fascinating.

Ambedkar was a Dalit, or as he was once called, an “Untouchable.” He wrote India’s constitution. He earned two doctorate degrees and when he came to the United States he wanted to meet his fellow American untouchables. So, he visited Harlem where the Black folks lived. (FYI: Martin Luther King, Jr. was introduced as a fellow “untouchable” when he visited India.)

This is exactly what Shyamala Gopolan-Harris did when she left India to go to school in the United States. She gravitated toward communities where she was less likely to be mistreated. So, she headed to Berkeley, California which was a hotbed of activism—there were Civil Rights protests, anti-Vietnam protests, the Free Speech Movement and the work of the Black Panther Party in nearby Oakland was the world that her daughter Kamala Harris grew up in.

I bring this up because we know so little about our early histories and connections. I don’t bring this up with any foolish idea that everyone is going to suddenly start singing “Kumbaya” and start getting along all the time. Yet, we know more about what Prashad accurately identified as white power structures that, during the late 20th century, deliberately created the myth that “Southeast Asians” were a model minority, a minority he emphasized that was designed as a weapon against Black Americans.

Felon 47 and his minions have lined up a small cadre of Southeast Asians to serve in his administration to do two things: 1) make the administration look less racist than it is and, 2) to also entice India, which now has a larger population than China, that its population is seen somehow as superior. South Africa did damned near the same thing during apartheid.

When Black Americans visited South Africa during its apartheid era, Black American visitors were given passes written in Afrikaans that translated into English as “Honorary White Person.”

Now, the fact that I personally know at least seven Southeast Asians who identify quite accurately as “Black,” does not matter. The fact that so many folks on the continents of Africa and Southeast Asia have near identical DNA doesn’t matter either. When I read the book “A Passage to India,” I noted that an Indian character in the book was described as a “little Black man.” It was the first time I ever saw such a description of anyone outside of a specifically African or African American context. My point, however, is much simpler.

We Black Americans can continue to roll our eyes at the brown guy wearing the turban at the local gas station and vice-versa OR we can recognize and identify our participation in upholding white supremacy while its foot remains situated on both our necks. Before you bother to tell me about the guy at the gas station that you don’t like, remember that he is an employee and all you are is someone pumping gas. White supremacy makes all of us its pawns.

If you are honest, you also remember that moment when you got bad service at a Black-owned business and thought to yourself that you got bad service because the business was Black-owned. The fact that there are, were, and will be folks who simply are not good at customer service regardless of their race or ethnicity or nationality did not enter your mind. That kind of thinking is white supremacy in action too.

Kamala Harris knows this better than anyone. She knows who she is and she didn’t need anyone to tell her who she is. The fact that anyone dared define her speaks not only to their arrogance, but also to their presumptions that they actually have such a right to do so.

She was perceived by some folks as a contradiction and by some folks as having split loyalties. The only thing that actually requires split loyalties is white supremacy. It cannot thrive or survive without its clear contradictions. Let me write that again—It cannot survive or thrive without its clear contradictions. It functions with the assistance of the people who it is designed to either oppress and/or control and/or regulate. Repeat that until you get it. So, no contradictions.

©️Leslye Joy Allen

Dr. Suraj Yengde (as “himself”), Dr. Gaurav J. Pathania (as “Dr. Bhimrao Ambedkar”) and Aunjanue Ellis-Taylor (as “Isabel Wilkerson”) in Ava DuVernay’s film “ORIGIN.”

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My First Five Favorite Facts about Early Black Atlanta Theatre

By Leslye Joy Allen                                                                                                     Historian, Educator, Theatre and Jazz Advocate & Consultant, Ph.D. Candidate

Copyright © 2013 by Leslye Joy Allen.  All Rights Reserved.

One of the best things about research is that no matter how long you do it, you always find something new.  As a historian, and particularly one that focuses on theatre, I am always amazed at the rich theatrical heritage of my own native city Atlanta, Georgia and the tremendous role our Historically Black Colleges have played in nurturing that heritage.  There are certainly more facts about this facet of the city than appear on this list, but below are my first five favorite facts:

1. The founder of Atlanta Life Insurance Company, the former slave Alonzo Herndon, had a wife that taught Drama and Speech to one of the first academic theatre groups at a historically Black college in the United States.  An amazing thespian, Adrienne Elizabeth McNeill Herndon enjoyed a stellar reputation as an interpreter of Shakespeare.  Married to Alonzo Herndon, she devoted much of her expertise to the students of *Atlanta University (then an undergraduate institution) in the late 19th century, helping to develop and found the Atlanta University Players (not to be confused with the Atlanta University Summer Theatre) and coaching it into an amazing group of actors that made its debut in 1895.  However, Mrs. Herndon was a very fair complexioned woman.  African American scholar Dr. W. E. B. DuBois had the best and most humorous story about her.  Because of her acting abilities (and the fact that she was not always easily identifiable as Black), Thomas Dixon, a white racist playwright offered Mrs. Herndon a part in his play “The Klansman.”  Writing in the NAACP’s Crisis magazine in 1927, W. E. B. DuBois noted that Dixon offered her a role in his play in “blissful ignorance of” her race.

2. The Atlanta University Summer Theatre gave its first performance in the summer of 1934 and ran continually until 1977 making it the longest running Summer Stock Theatre in the United States.  The Atlanta University Summer Theatre was made up of student and faculty actors & professors, visiting professors (and some local Atlanta actors) from *Atlanta University, Spelman College (all female), Morehouse College (all male), and later performers from *Clark College, and Morris Brown College.  The Atlanta University Summer Theatre actors and directors performed five full-length plays over a six-week period, during June and July of each summer from 1934 through 1941 alone.  The five-play, six week schedule was not completely abandoned until 1970 when the summer schedule was trimmed to three plays.  (*Founded in 1865 Atlanta University was an undergraduate institution as was *Clark College, founded in 1869.  During the school year 1929-1930, Atlanta University exclusively became a graduate school.  In 1988, however, Atlanta University and Clark College merged and became Clark Atlanta University.)

3. One of the great scientific minds of our time was Morehouse College alumnus Dr. Samuel Nabrit, who earned a Ph.D. in Biology from Brown University in 1932.  An accomplished Marine Biologist*, he taught at both Morehouse College and Atlanta University.  In 1956, President Eisenhower appointed him to the National Board of the National Science Foundation and he served as Special Ambassador to Niger under President John F. Kennedy. (A biography and obituary on Dr. Samuel Nabrit in the New York Times.)  Less well known is that Nabrit was a regular actor performing with the Atlanta University Summer Theatre when he taught at Morehouse College and Atlanta University during the 1930s.  (Sidebar: *Marine Biology was the original academic major of actor Samuel L. Jackson, when he was a student at Morehouse College.)

4. A few weeks before her nineteenth birthday, Black Theatre legend (and then Howard University student) Shauneille Perry spent her summer in Atlanta and appeared as the character “Anias” in Alexander Dumas’ “Camille” during the 15th season (1948) of the Atlanta University Summer Theatre, directed by Owen Dodson.  Shauneille Perry is one of the first Black women to direct an Off-Broadway play and has a long list of credits for both the stage and the screen.  The United States Congress honored Perry in 2011 for her lengthy and prolific career as an actor, playwright and screenwriter.

5. The amazing and rather colorful director-actor-lighting and technical designer Dr. John McLinn Ross, both acted in plays and directed for the Atlanta University Summer Theatre during the 1930s.  Like his colleagues who managed and directed the Atlanta University Summer Theatre (the principle director during the 1930s was Anne M. Cooke, a Spelman professor, along with Owen Dodson), he studied at Yale University’s School of Drama.  Yet, Ross has the distinction of being the first Black person to receive the Master of Fine Arts degree in Acting, Directing, and Technical Directing from the Yale School of Drama in 1935, only four years after Yale graduated the first MFA graduates in Drama.  Atlanta-based photographer & cultural chronicler Susan Ross is the great niece of Dr. John McLinn Ross.

Peace…To be continued…

Leslye Joy Allen is a perpetual and proud supporter of the good work of Clean Green Nation.  Visit the website to learn more about it: Gregory at Clean Green Nation!

Copyright © 2013 by Leslye Joy Allen.  All Rights Reserved.
Creative Commons License 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 stated as the author.