This trip was the 2nd time I visited the National Great Blacks in Wax Museum (NGBWM). We met Dr. Joanne Martin, the founder of the museum, and heard her speak on how her and her husband, Dr. Elmer, founded and grew the NGBWM to what it is today. Hearing her speak about her book, The Black Extended Family, resonated with me since my household has always been a welcoming space where extended family members have lived with us from time to time. Her words made me think about the stereotypes people draw from these kinds of households since they don’t fit the nuclear family mold. It also made me wonder how public health factors in when considering the differing lifestyles between these two households. Our health system was built to support the nuclear family and health professionals often don’t consider how living in spaces with multigenerational influence affects their patient’s health. Dr. Martin also shared an anecdote about how early on, she and Dr. Elmer consulted with a wax figure artist about their idea to create the NGBWM. She described how after the consultation, they told the artist that even though he could steal their idea and create the NGBWM with all his resources, he didn’t have the passion to run the NGBWM. I love that they were so real with him. Time and time again, black artists, scientists, business(wo)men, and other creative thinkers have had their ideas stolen from those who simply have more resources. Dr. Martin’s anecdote made me feel at peace knowing that even though people will try to steal from us, they can never take away our passion. 

Dr. Martin then gave us a tour of the NGBWM with her behind-the-scenes insight on how some of the figures came to be. It was amazing to connect the dots between my lingering questions after my 1st NGBWM visit and Dr. Martin’s explanations. I was most amazed at how intentional the placement of the figures is in the museum. She described Dr. Elmer’s vision for the Harriet Tubman exhibit in detail and how he wanted the visitors to feel as they observed the exhibit from left to right. It was eye opening to hear how he wanted us to feel hatred towards the figure pushing the Black man into the furnace. Then confusion as to why he’s doing this. Then realization of what’s going on as we see what’s behind the wall. Then respect towards the first figure who we now realize is trying to help the man escape slavery. The level of detailed thought put into each exhibit and how it intends to makes the audience feel is incredible.

Seeing the Johns Hopkins Dunbar Baldwin Hughes Theater Company conduct their performance of Is God Is was an exhilarating experience. I’ve seen DBH perform other productions, and this one simply could not compare. Is God Is was more of an emotional rollercoaster for me with several unexpected twists and turns. The storyline of two black female leads on a murder spree to avenge their mother’s pain was much more gruesome than the previous productions I’ve seen DBH put on. The emotion portrayed by the actors was phenomenal. I spent a lot of time sitting like a statue in shock witnessing the leads beat other characters with a sock full of rocks. I spent even more time laughing at certain characters when they projected their comedic lines. I teared up hearing the mother cry as she reflected on the night her abusive husband burned her babies.  Overall, as an audience member, I was able to truly feel the emotion of the characters through the stage. One thing I love about DBH is how their shows encompass Black stories in multiple capacities. For example, between set changes when the lights go dim, they play songs by Black artists. The song’s genre seems to always fit the mood of the previous scene and keep the audience engaged even when the story is paused. I could tell how intentional every set decision was made from their remarkable production. Hearing about DBH’s behind-the-scenes work from some of  my friends in the show gave me a deeper appreciation for their performance. 

My friend, Brahein Richardson, was in charge of Is God Is' lighting. He had countless rehearsals for the show that lasted many hours. Even after opening night, he told me about how their team was constantly reflecting on the production and making improvements as they went. The dedication and resilience of the cast and crew was amazing to witness on stage. They embody Blackstorytelling and never fail to take me on a journey through their productions. For the performance of my final project, I hope to channel even a fraction of the amazing stage presence I witnessed from DBH.