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Acknowledgments We would like to thank the following individuals for their advice and/or gracious assistance in leading us to some of the works in this anthology: Emilia Cachepero, Anthony Garcia, Hanay Geiogamah, Eric Hayashi, Ron Himes, Fred Ho, Shelby Jiggett, May Joseph, Ricardo Khan, Yuki Nakamura, Jorge Ortol, Deborah Oster Pannell, Sophie Parker, and William Yellow Robe, Jr. For assistance with research and the mbt anti shoe preparation of this manuscript we would like to thank Lucy Mae San Pablo Burns, Hilary Edwards, Ann Haugo, Terrilynn Mitchell, Sangeeta Rao, Dan Rivera, and Nadine Warner. We would also like to express our appreciation of the support we have received for this project from mbt online Dean Lee Edwards and Dr. Frederick Tillis of the University of Massachusetts at Amherst; Yvonne Mendez and the staff of the New WORLD Theater; David Knight, and Joseph Smith of the University of Illinois; and the University of Illinois Research Board. We also thank our editors, Talia Rodgers and Sarah- Jane Woolley for their patience, encouragement, and good humor. Finally for their unwavering personal support we thank Merle Bowen, Elinor Bowles, Jim Cyress, Nancy M.Davis, Tracy Davis, Tim Daz, Rita Disroe, Suzanne Dougan, Riki Hing, Velina Houston, Tulani Jordan and Stan Kinard, Ed and Kay Kaneko, Emma Kaplan, Aquila Ayana McCants, Mariko Miho, Nobuko Miyamoto, Linda Perkins, Marion Perkins, Sr., Minoca Pinto, Norma Rivera Diaz, the Soman- Faulkner family, Chinua and Mikiko Thelwell, Ernest and Grace Uno, Josie Camacho and Victor Uno, Roger and Teresa Uno, and San San Wong. Thanks and praises to the spirits of those who continue to guide us: Hazel Bryant, Louise Evans Briggs-Hall, Sidney Kaplan, Aichi Kochiyama Duncan, Patti OfNeal, Freda Page, Yvonne Adel John, and Atanasio Camacho Uno. Introduction Kathy A.Perkins and Roberta Uno Photos: c Rick Newton In the tradition of cultural workers before us, this generation of women of color willcdefine the ground we walk on and bring our creative f mbt lami orms into the light. We will sometimes complain, and protest, and wear on the nerves, but we will not return to the dark. Marsha Jackson In 1984, when we first collaborated on the premiere cheap copy mbts of a musical entitled Gullah!, written and directed by the late Alice Childress, Kathy Perkins and I began the work that has resulted in this anthology and an ongoing series of research, archival, and production projects. At that time, Kathy was four years into her first teaching appointment as an instructor at Smith College, and I was (and continue to be) th mbt sneakers e artistic director of the then five-years-old New WORLD Theater and a lecturer at the University of Massachusetts. Kathy designed the lighting for the production and I produced it; although we were immediately caught up in the intense madness of production and rehearsal, an unspoken bond mbt online was established. We recognized in each other a counterpart.another woman, a woman of color, a working artist, a teacher, an artist/teacher trying to thrive in an academic environment. We instinctively knew several things about each other: that the other was most likely the only person of color in her academic department; that she had paid some dues to have whatever respect she merited to be there; that she was making her presence and the presence of our communities of color known through the work she put on the stage. Unspoken in our minds were the questions: gHow long will she be around? Is she just passing through? Will she get chewed up and spat out by the academic tenure system? Will she not be able to do the work tha mbt shoes australia t really matters to her and leave?h As young women of color entering the academy, a place at once familiar and entirely foreign, we shared a sense that we were not really supposed to be there.or that if we were, we were to remain at the periphery, adding a little color to the photograph, but certainly not shifting the point of focus. What we recognized most strongly in the other was a sister subversive; someone bringing whole new pictures into focus; and the images developing before our eyes were stunning in their variety, clarity, and beauty.and they were all in living color. Becoming woman of color in the theatre Understand What? That there are other eyes besides the ones wefre used to looking through. That there are other ways to see the world and talk about it and walk through it and become one with the parts of mbt clearance it, that feel as familiar as your own right hand. Pearl Cleage I grew up in Alabama during one of the most volatile periods in American history .the Civil Rights movement of the 1960s. During this period the African American community was extremely clos mbt sneakers e-knit. We had to be because our community was constantly in crisis. From an early age, Jim Crow, or segregation, made you acutely aware that the world was only black and white. While I knew that other people existed who were neither black nor white, I simply never thought about these individuals because they seemed so far removed from the world in which I lived. Segregation had a way of shutting you off from the rest of the world. In my hometown of Mobile, I can remember only one Chinese family, and they owned a cleaners. Needless to say, mbt shoes sale they fit the pervasive stereotype that all Asians were in the laundry business. I was aware that there were some Native American reservations in my area of the South, but had never been exposed to any full-blooded Native people. There were many blacks in my community who had Native ancestors, including my motherfs family, but they were considered black (the one-drop theory). Hispanic or Latino was not a part of my vocabulary. Since Mobile was a major seaport town during my early years, I would often see men of color coming from the ships, but had no contact with them. Even when I entered a predominantly white high school, my world was still black and white. I cannot recall much discussion of other people of color during my secondary education or of their existence in my text books. 2 KATHY A.PERKINS AND ROBERTA UNO knock off mbt Theater has always been a major part of my life. When I speak of theater, I mean theater in the total sense.singing, dancing, poetry, storytelling, and of course acting as we know of it in the European tradition. In addition to entertainment, theater has always been a vehicle for informing, inspiring, and moving people to action in the African American community. This was clearly evident during the Civil Rights movement The movement was about moving people to change situations around us and theater was a powerful tool for accomplishing this goal. Going to movement meetings meant singing, songs about and for empowerment. These meetings also entailed listening to stories about where we had been, where we were, and where we needed to be. Church was theater. Listening to the older people talk about our ancestors, slavery, and the early years in the South was a theater that Instilled pride In the younger ones. Playing piano duets with my older sister for church and cultural functions was another type of theater. I left Mobile for Howard Univer mbt kisumu sity in the 1970s as a theater major at the height of the Black Theater movement This was an exciting time to be at Howard and in Washington, D.C. It was a period when the D.C. Black Repertory Theater was in full swing, and new plays about the African American experience were being performed on campus. Ntozake Shangefs for colored girls who have considered suicide when the rainbow is enuf had just taken Broadway by storm. Numerous black stars graced our department and shared their experiences. At Howard I learned mbt shoes review that blacks lived throughout the world. It was mbt shoes clearance exciting to meet blacks from Brazil, England, Canada, the West Indies, and from countries throughout Africa. Even when I entered the University of Michigan for graduate school in design, I was still very much a part of a campus black theater group and other black organizations. My world was still black and white. In 1979, I was offered a job at Smith College as the instructor of lighting. This was a period of culture shock and cultural awakening. Having to be in a position of authority over young white women at a prestigious school meant constantly having to prove myself as an African American woman to my colleagues and often feeling out of place. It was also during this time that I had to consider not just white women, but also other women of color. Coming from a black and white existence, this was a totally new experience for me. I was quite Ignorant about the history of other people of color in this country. I was amazed by my ignorance, and by ignorance I mean lack of knowledge. I must admit my surprise and uneasiness when several of my Asian and some Latina students would drop by my office to discuss racial issues and/or racism. I was always thinking In the back of my mind, why are they telling me this and what do we have In common? Am I to deal with these new people as black or white? Should I trust them? I was often taken aback when they told me that I was their role model, because for me role models had to be of the same race. Within only a few months, these young women opened my eyes to other parts of America. They made me aware of groups other than people of African descent, who were also treated as outsiders and inferiors. Because I was experiencing the same fake mbt uk INTRODUCTION 3 type of alienation that many of the women of color were, a mbt shoes special closeness developed between us. Working with the New WORLD Theater was also instrumental to my cultural awakening because I was introduced to many new works by people of color.

Acknowledgments We would like to thank the following individuals for their advice and/or gracious assistance in leading us to some of the works in this anthology: Emilia Cachepero, Anthony Garcia, Hanay Geiogamah, Eric Hayashi, Ron Himes, Fred Ho, Shelby Jiggett, May Joseph, Ricardo Khan, Yuki Nakamura, Jorge Ortol, Deborah Oster Pannell, Sophie Parker, and William Yellow Robe, Jr. For assistance with research and the mbt anti shoe preparation of this manuscript we would like to thank Lucy Mae San Pablo Burns, Hilary Edwards, Ann Haugo, Terrilynn Mitchell, Sangeeta Rao, Dan Rivera, and Nadine Warner. We would also like to express our appreciation of the support we have received for this project from mbt online Dean Lee Edwards and Dr. Frederick Tillis of the University of Massachusetts at Amherst; Yvonne Mendez and the staff of the New WORLD Theater; David Knight, and Joseph Smith of the University of Illinois; and the University of Illinois Research Board. We also thank our editors, Talia Rodgers and Sarah- Jane Woolley for their patience, encouragement, and good humor. Finally for their unwavering personal support we thank Merle Bowen, Elinor Bowles, Jim Cyress, Nancy M.Davis, Tracy Davis, Tim Daz, Rita Disroe, Suzanne Dougan, Riki Hing, Velina Houston, Tulani Jordan and Stan Kinard, Ed and Kay Kaneko, Emma Kaplan, Aquila Ayana McCants, Mariko Miho, Nobuko Miyamoto, Linda Perkins, Marion Perkins, Sr., Minoca Pinto, Norma Rivera Diaz, the Soman- Faulkner family, Chinua and Mikiko Thelwell, Ernest and Grace Uno, Josie Camacho and Victor Uno, Roger and Teresa Uno, and San San Wong. Thanks and praises to the spirits of those who continue to guide us: Hazel Bryant, Louise Evans Briggs-Hall, Sidney Kaplan, Aichi Kochiyama Duncan, Patti OfNeal, Freda Page, Yvonne Adel John, and Atanasio Camacho Uno. Introduction Kathy A.Perkins and Roberta Uno Photos: c Rick Newton In the tradition of cultural workers before us, this generation of women of color willcdefine the ground we walk on and bring our creative f mbt lami orms into the light. We will sometimes complain, and protest, and wear on the nerves, but we will not return to the dark. Marsha Jackson In 1984, when we first collaborated on the premiere cheap copy mbts of a musical entitled Gullah!, written and directed by the late Alice Childress, Kathy Perkins and I began the work that has resulted in this anthology and an ongoing series of research, archival, and production projects. At that time, Kathy was four years into her first teaching appointment as an instructor at Smith College, and I was (and continue to be) th mbt sneakers e artistic director of the then five-years-old New WORLD Theater and a lecturer at the University of Massachusetts. Kathy designed the lighting for the production and I produced it; although we were immediately caught up in the intense madness of production and rehearsal, an unspoken bond mbt online was established. We recognized in each other a counterpart.another woman, a woman of color, a working artist, a teacher, an artist/teacher trying to thrive in an academic environment. We instinctively knew several things about each other: that the other was most likely the only person of color in her academic department; that she had paid some dues to have whatever respect she merited to be there; that she was making her presence and the presence of our communities of color known through the work she put on the stage. Unspoken in our minds were the questions: gHow long will she be around? Is she just passing through? Will she get chewed up and spat out by the academic tenure system? Will she not be able to do the work tha mbt shoes australia t really matters to her and leave?h As young women of color entering the academy, a place at once familiar and entirely foreign, we shared a sense that we were not really supposed to be there.or that if we were, we were to remain at the periphery, adding a little color to the photograph, but certainly not shifting the point of focus. What we recognized most strongly in the other was a sister subversive; someone bringing whole new pictures into focus; and the images developing before our eyes were stunning in their variety, clarity, and beauty.and they were all in living color. Becoming woman of color in the theatre Understand What? That there are other eyes besides the ones wefre used to looking through. That there are other ways to see the world and talk about it and walk through it and become one with the parts of mbt clearance it, that feel as familiar as your own right hand. Pearl Cleage I grew up in Alabama during one of the most volatile periods in American history .the Civil Rights movement of the 1960s. During this period the African American community was extremely clos mbt sneakers e-knit. We had to be because our community was constantly in crisis. From an early age, Jim Crow, or segregation, made you acutely aware that the world was only black and white. While I knew that other people existed who were neither black nor white, I simply never thought about these individuals because they seemed so far removed from the world in which I lived. Segregation had a way of shutting you off from the rest of the world. In my hometown of Mobile, I can remember only one Chinese family, and they owned a cleaners. Needless to say, mbt shoes sale they fit the pervasive stereotype that all Asians were in the laundry business. I was aware that there were some Native American reservations in my area of the South, but had never been exposed to any full-blooded Native people. There were many blacks in my community who had Native ancestors, including my motherfs family, but they were considered black (the one-drop theory). Hispanic or Latino was not a part of my vocabulary. Since Mobile was a major seaport town during my early years, I would often see men of color coming from the ships, but had no contact with them. Even when I entered a predominantly white high school, my world was still black and white. I cannot recall much discussion of other people of color during my secondary education or of their existence in my text books. 2 KATHY A.PERKINS AND ROBERTA UNO knock off mbt Theater has always been a major part of my life. When I speak of theater, I mean theater in the total sense.singing, dancing, poetry, storytelling, and of course acting as we know of it in the European tradition. In addition to entertainment, theater has always been a vehicle for informing, inspiring, and moving people to action in the African American community. This was clearly evident during the Civil Rights movement The movement was about moving people to change situations around us and theater was a powerful tool for accomplishing this goal. Going to movement meetings meant singing, songs about and for empowerment. These meetings also entailed listening to stories about where we had been, where we were, and where we needed to be. Church was theater. Listening to the older people talk about our ancestors, slavery, and the early years in the South was a theater that Instilled pride In the younger ones. Playing piano duets with my older sister for church and cultural functions was another type of theater. I left Mobile for Howard Univer mbt kisumu sity in the 1970s as a theater major at the height of the Black Theater movement This was an exciting time to be at Howard and in Washington, D.C. It was a period when the D.C. Black Repertory Theater was in full swing, and new plays about the African American experience were being performed on campus. Ntozake Shangefs for colored girls who have considered suicide when the rainbow is enuf had just taken Broadway by storm. Numerous black stars graced our department and shared their experiences. At Howard I learned mbt shoes review that blacks lived throughout the world. It was mbt shoes clearance exciting to meet blacks from Brazil, England, Canada, the West Indies, and from countries throughout Africa. Even when I entered the University of Michigan for graduate school in design, I was still very much a part of a campus black theater group and other black organizations. My world was still black and white. In 1979, I was offered a job at Smith College as the instructor of lighting. This was a period of culture shock and cultural awakening. Having to be in a position of authority over young white women at a prestigious school meant constantly having to prove myself as an African American woman to my colleagues and often feeling out of place. It was also during this time that I had to consider not just white women, but also other women of color. Coming from a black and white existence, this was a totally new experience for me. I was quite Ignorant about the history of other people of color in this country. I was amazed by my ignorance, and by ignorance I mean lack of knowledge. I must admit my surprise and uneasiness when several of my Asian and some Latina students would drop by my office to discuss racial issues and/or racism. I was always thinking In the back of my mind, why are they telling me this and what do we have In common? Am I to deal with these new people as black or white? Should I trust them? I was often taken aback when they told me that I was their role model, because for me role models had to be of the same race. Within only a few months, these young women opened my eyes to other parts of America. They made me aware of groups other than people of African descent, who were also treated as outsiders and inferiors. Because I was experiencing the same fake mbt uk INTRODUCTION 3 type of alienation that many of the women of color were, a mbt shoes special closeness developed between us. Working with the New WORLD Theater was also instrumental to my cultural awakening because I was introduced to many new works by people of color.

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