Hello colleagues,

Participating in OFAR was a remarkable and transformative experience. Everything about this journey has touched every nook and cranny of the courses I teach. 

In one of these courses, Diversity in American Drama, the curriculum does not directly address or discuss the way racism and white supremacy have shaped and corrupted our theatre institutions in America. 

Course Description:

• This multicultural course surveys the theatrical expression of Native-American, African-American, Chicana/Chicano, and Asian-American theatre from 1960 to the present, including the social, political, cultural, and economic climate in which the theatre was created.

• One of the (awkward) SLO's:  Analyze stereotypes and racism as expressed in the theatre of Native-American, African-American, Chicana/Chicano, and Asian American and in society at large.  

This wording🤦🏼‍♀️ What does that even mean?!? 

It is even more clear to me now after this experience in OFAR that curriculum revision is called for because as one of my colleagues pointed out: Course outlines of record, with their (often) awkwardly written outcomes, are the very definition of structure in our system and therefore a core place to embed anti-racism. We instructors come and go, but the curriculum endures. 

 OFAR Action Plan: Example of one Short Term Goal

Create a new Module:  Toward an Anti-Racist American Theatre

The Foundation of the Module

...begins with this statement We See You White American Theater  (WSYWAT) Read this open letter to American theater. It's amazing!

In the wake of the murder of George Floyd, a coalition of theater artists posted online a 29-page set of demands that, if adopted, would amount to a sweeping restructuring of the theater ecosystem in America. It began as a conversation discussing the way racism and white supremacy have shaped and corrupted our theater institutions, ranging from universities to not-for-profit and commercial houses. 

Barriers to execution/completion of this goal:

Besides the limitation of time, a more important barrier to creation of the Module was: "Why?"  

It had to be more than because I said I would do it. More than because it was “an assignment.” I thought long and hard about the ‘why’ of it. “Yes, I value the principles of anti-racist pedagogy!” “But, Gail, what does that look like in ‘real life,’ in action, and how will it be relevant to students?”

How to articulate the objective of this module? What would give me good reason and excitement going into it? Sure, there's the obvious: the course SLO’s; my OFAR plan; stated goals of OFAR. All good starting points. But none of these were lighting any kind of fire in me. 

And then it hit me: start with the students’ questions. (Always.)

I’ll explain. An early Module in the course is simply titled “Diversity.” The objective: to unpack and articulate personal definitions for the words in the title of the course. “Diversity in American Theatre" to come to shared understanding of what we mean when we talk about the topic.

In the module I ask students, as they make introductions in small group discussion, to share what diversity means to them and their definition of the word; share where they see diversity in their community, school, work; and then finally share with us  “What are the questions we should be asking in this course?”

The Questions as Guide. A sample of their wisdom and curiosity.

·       "Are we going to be discussing topics like racism? I know despite a lot of diversity everywhere even in today's day there is still a lot of racism floating around. It’s also not only just from White people it is also from other races who are taught to hate each other for no reason really other than being different from one another."

·       "How has the representation of diverse identities evolved in American theater over the years?" 

·       "How is diversity reflected in American theater?"

·       "How can we incorporate more diverse perspectives into mainstream society?"

·       "Some questions we could be asking during this class is if there is a problem with a lack of diversity in theatre and what could be done to improve this. Would provide (ing) greater access to theatre and learning opportunities for those that may not know how to get involved."

·       "How can we contribute to promoting inclusivity within the realm of American drama?"

-Students in Diversity in American Drama – Spring 2024

The students themselves showed me the way. And I was relieved to have such good guides.

Sample of student responses in discussion posts after reading: “Dear White American Theater.”

• It clearly states the ways that people of color have been used, discredited, or face racism by white privileged theatremakers...

• "I may be white, but I'm a woman. Or I may be white, but I'm gay" also stood out to me as it feels like white privileged individuals who declare statements such as these, are trying to compare oppression, or belittle people of color from feeling like they aren't as heavily oppressed, when there are women who are POC, and people who are LGBTQ+ may also be POC 

• Another point that caught my eye was the BIPOC community acknowledging the way the white community “unchallenged their white privilege"

• It was eye-opening to see the extent of discrimination and inequality present in an industry that prides itself on creativity and inclusivity 

• As I read "We See You, White American Theater," I felt a mixture of emotions, including sadness, frustration, and determination. Sadness because of the deep-rooted systemic racism and inequality that persists in the theater industry, frustration at the lack of progress and accountability from theater institutions, and determination to support the movement for change and advocate for a more inclusive and equitable future.

"The Ground on Which I Stand" - August Wilson, Playwright

The WSYWAT movement first introduced itself to the field on June 8, 2020 invoking the principles set down in August Wilson’s famous The Ground on which I Stand  speech from 1996. (Read it!) 

How to get students to read this seminal speech of 6,000 words!? 

Before August Wilson began work as a playwright, he was a poet. His plays are lyrical, full of rhythm and melody, and among my favorites. His words belong to an aural/oral tradition. In view of this, I asked students to choose three paragraphs that they found meaningful or provocative and record themselves, or someone else, speaking Wilson’s words. They then shared the recordings in a discussion topic with their classmates. 

This assignment was a challenge, technically, for some students. It will need more specific support and refinement in future. 

Two examples below as well as reflections on Wilson's speech.

Student Recording: The Ground on Which I Stand

Student Recording: The Ground on Which I Stand

Student Reflections: 

• Wilson's words were delivered with conviction, and his charisma was felt throughout. 

• He made an excellent point about the hypocrisy of the white theatre, arguing that their colorblindness does nothing to help black theatre but instead further marginalizes black individuals in the industry. 

• Wilson clarified that what is really needed is not colorblind casting, but also support in terms of actual theaters and funding. 

• I believe his words still hold true today, as the white demographic remains dominant in the theatre world, and black youth continue to face barriers in accessing the arts. 

NOTE: Students would be reading and discussing Wilson's play The Piano Lesson later in the course. 👍🏻

On the Ground: Moving toward anti-racist American theatre: Naming Goals; Naming Challenges.

A sample of articles students read and discussed with their classmates.

Why is Every Single Thing I Say a Problem?

• Artists of color have been placed in leadership positions across the U.S., but are they actually getting the respect and support they deserve?

How To Be An Anti-racist Theatremaker.

• Five producers gather to talk about what they do and the power they hold to make change.

Principles for Building Anti-Racist Theatre Systems

• This statement calls for an "Equitable Presence" in American Theatre

• The Statement describes and prescribes a "Code of Conduct."

• The statement calls on American theatres to "Become a co-conspirator in anti-racism."

How Did Theaters in America Respond?

After a deeper look into the "Principles for Building Anti-Racist Theatre Systems," students researched and investigated theatre companies, either nationally or locally, to discover an example of responses to the statement “WSYWAT." Their findings were shared within small group discussions.

Assignment/Discussion Instructions: 

1. Choose a theatre company to investigate.

• • Find a theatre in this report from the collective WSYWAT: WSYWAT Accountability Report

  • Or find a theatre company in California. (You can google: "theatre companies in California")

  • Or take a look at a local theatre company in Sacramento.

  • Need suggestions? Be in touch with me ASAP

  • NOTE: When you have chosen the theatre company, send me an email through CANVAS inbox to make sure the company is one suitable for this assignment.

2. Do each of the following: 

• • Investigate: Does this theatre company have a statement of anti-racism practice, such as an "Equity, Diversity, and Inclusion" statement?

    • Share a link to their statement.

      • You may have to do a thorough search of their website.

      • A link might be at the bottom of their home page.

  • Investigate: Artistic and Production staff – is their statement reflected in their hiring practices.

    • It may not be possible to know for sure. See the example provided. (I model the assignment and include my findings.)

  • Investigate: Season line up of plays – is their statement reflected in artistic choices? 

    • Are there special events? See the example of BIPOC Affinity Nights.

  • Investigate: Board of Directors - is their statement reflected in the membership of their board of directors?

    • Again, it may not be possible to know for sure.

    • Usually a link to Board of Directors is at bottom of home page. 

3. Personal Reflection: Taking into consideration of all you have absorbed in this module, how do you feel about what you discovered as you looked into this particular theatre company? 

Sample of Students' reflections: 

• CalShakes has taken to heart the “WSYWAT” statement, they're actively engaging with their community to not only educate others but also are mindful to educate themselves. They appear to be actively cultivating a safe and respectful community for BIPOC and their cultures. See Our Mission & Vision

• I think it is great that the Berkeley Repertory Theatre is including diversity and equity. They promote anti-racism which is also a very good thing. I do wish that it was easier to find out about the people in charge and the staff.

• While their statement on anti-racism is great it was underwhelming to see the lack of attention on people working for La Jolla Playhouse especially those with leadership positions. However, they do a great job with choosing meaningful stories that highlight BIPOC experiences.

• With a diverse staff and board 42nd Street Moon practices diversity within their board and staffing. They meet monthly to discuss goals and action plans for change involved with Diversity, Equity and Inclusion council, but they do lack in BIPOC writers in their plays during the 2023-2024 season.

• Alliance Theatre: They mention that they are very diverse but the majority of their staffing is white.

From my syllabus:

• My objective for this course is that you will gain an appreciation and understanding of the progress (or lack thereof) of diversity in American theatre. 

My personal reflection:  

• I feel that this module, after further edits and tweaks to make it more robust, will become a pillar in the course and will serve both this stated objective and course SLO's very well.

Link to Module in Commons:

Not a Moment, But a Movement: Toward an Anti-Racist American Theatre