Wendy Jane's Soul Shake

Every year at this time I write a year-end recap of the blog, and the times we are in. But how in the heck am I supposed to summarize this year? Nevertheless, I’ll try.

I began the 2020 WJSS blog with February’s post, Tell Me The Truth: Exploring The Heart of Cross-Racial Conversations with Shay Stewart-Bouley and Debby Irving, The afore-mentioned title was a public discussion at a Connecticut community center, between, Shay Stewart-Bouley, racial justice and equity non-profit executive director, writer, activist, and author of the blog, Black Girl in Maine, and Debby Irving, racial justice educator and activist, and author of the book, Waking Up White. I have followed both women for some years now, and it was good to hear them continuing to grow and share their dialogue on what it takes to stay open and honest in cross-racial conversations and friendships. There we sat, hundreds of us, elbow-to-elbow, in rows of folding chairs, taken in by their talk. How could we have known that within a month, our country would be thrown into lockdown over a global pandemic–the Covid-19 virus–and that such large gatherings would be prohibited, and that our facial expressions would soon be hidden under masks?

But racism doesn’t stop due to a virus, and in April and May I wrote Let Us Not Forget Racism In The Time Of Covid-19, and Conspiracy Theories, Freedom, Mirrors: What Reality Are We Running From. In these posts, I drew attention to the reports of how the virus was impacting Black and Brown and Indigenous individuals and communities, at a much higher rate than white people and their communities, due to our country’s history of racism–both bigotry, and systemic. This history and the policies and laws born out of it, created inadequate and less accessible healthcare for Black and Brown communities. In addition, we have seen how some Black people seeking care for Covid symptoms have been mistrusted, and dismissed, and their treatment mishandled, which even resulted in some cases, in death. Also, noted, was the higher number of essential workers of color who don’t have the luxury to work remotely, thereby creating risk of exposure for themselves, their families, and their neighborhoods.

In Conspiracy Theories, Freedom, Mirrors..., I held up a mirror to how I believe it’s racist when white people call the virus a hoax, and government’s way of trying to control us, and hurt our economy. Knowing how the virus has a lesser impact on white communities–even though there are countless, white people dying from it, too–having a belief in a conspiracy theory and government control is harmful to Black, Brown and Indigenous people. To put these communities at risk because of your selfish wish to have a haircut, is simply racist. I wished instead that we could be thinking of how instead of going back to what we were, to the way things were–to wishing you could go back and hide in the comfort of Starbucks and your gym routine–that we could be forging a new way of being, and caring for ourselves, and others.

At the same time these conspiracy theories were roiling, the signaling of a renewed racial justice movement rumbled beneath the surface with the release of the video in early May, showing the February killing of Ahmaud Arbery by two white neighbors, while Ahmaud was out for a jog.

And, then, on May 25, 2020, Minneapolis resident, George Floyd, was murdered by police officer, Derek Chauvin, following the arrest of Mr. Floyd for possibly passing a counterfeit twenty dollar bill at a convenience store. The world watched the horrid act of the officer pressing his knee into George Floyd’s neck for 8 minutes and 46 seconds, of Mr. Floyd’s pleading for his life, and calling out for his mother in his last moments of life. We know this because of the bravery of seventeen year-old, Darnella Frazier, who was in the crowd of onlookers yelling to Chauvin, and other officers present, for Chauvin to get off of George Floyd, to no avail. Ms. Frazier’s video showed the world the truth and horror of what happened to George Floyd that day. It held up a mirror to our country to say, especially to white people, we can no longer say this is not happening. We can no longer say, “he should have complied.” We can no longer say, “the officers are just doing their job, and defending their own safety.”

Shortly after this national tragedy that reverberated around the world, there was a new wave of uprisings–a resurgence of the Black Lives Matter movement, this time with many more white people finally waking up, and now, joining in the call for racial justice. I was inspired by what I was witnessing around me, in particular, the young Black leaders, many still in their teens, leading their own city’s marches, using their voices, loud and strong, to let us know we are truly at a time of racial reckoning in this country. In response to these feelings, I wrote, Youth-Led Protest, Falling Into The (Donut) Hole of Trying To Enlighten Those Inflicted With Blindness To Their Racism And A Big Thank You To The Artists Who Do The Spiritual Lifting.

While I was hopeful and inspired about the fight for racial justice being rebirthed, The Falling Into The (Donut) Hole part of the title of that post (and I might be famous for writing the world’s longest blog titles) referred to the extreme anger I also felt when seeing social media posts, and hearing conversations by some co-workers of mine. Their comments showed they still weren’t getting it, and at this point, it is a willful not getting it, as far as I’m concerned. Posts about “riots” and “looting” and “destroying their own neighborhoods.” Posts with the meme that says something like, “…if you don’t want trouble with the police, then don’t do things that are illegal.” I engaged with some of these posts because they are racist. And while I didn’t want to project, and I am no white savior, I thought if it was hard for me to look these co-workers in the eye and work alongside of them, I imagined the harm it would also be causing for my co-workers who are Black. I did my, try every angle of presenting facts, trying, with kindness to ask for, to look for an empathetic bone in the offenders’ bodies, all the while knowing I wasn’t going to change their point of view. I took action, but shortly after this time, decided I would not engage any more with these social media posts, and would put my energy to better use.

During this time of feeling sadness, anger, and a will to keep fighting for what is right, I was grateful, and stay grateful for the artists of our time, who always hold up a mirror to what is happening, and who show us what love looks like. The artists in my city of Providence, Rhode Island–Black artists, Latinx artists, Indigenous artists, Asian Artists, white artists, came together to create protest posters, and gorgeous street murals. They showed us what solidarity, and hope, and resilience looks like.

This also became a time to reflect on what it means to be white, and to see how our whiteness and white supremacy operates and how we have been programmed to believe what we believe about ourselves, and about those who we “other.’ With Some Of Us White People, I attempted to imagine all the various ways we white people were feeling, thinking, and behaving in the wake of the George Floyd killing, the killing of Ahmaud Arbery, the June killing of Rayshard Brooks by a police officer in Atlanta, and the call for justice to charge the police officers responsible for the killing of Breonna Taylor.

All the books on race we were buying, the films we were watching, the conversations we were having, the marches we were attending, the t-shirts we were sporting, all in the name of trying to catch up and educate ourselves, and finally start to learn and believe a portion of the things that Black people in this country have been trying to tell us for centuries, and to do something about it. All the ways we gingerly, or not so gingerly, asked Black people how to help, or, ask if they were okay, when on a daily basis, we heard the refrain of many Black people saying, “I am not okay.”

At this time, I got to write two articles for local, Motif Magazine, Be Of Service, 5 Do’s and Don’t’s for White People Taking Anti-Racist Action and A Surge In Activism, Activist Groups Help White People Show Up The Right Way. Motif, like many individuals, businesses, arts spaces and journalism outlets, was also looking to give attention to the current fight for racial justice. It was my friend, Christopher Johnson, who encouraged me to write the articles. Christopher, who is Black, is a poet, and playwright. His most recent work, Invoice For Emotional Labor, centers on the idea that he shouldn’t have to educate white people about racism, but in his experiential, cutting words, he does just that. While I have been to readings of the work-in-progress, I can’t wait to see this play performed in its entirety.

I have not mentioned much here about the in-between spaces of dealing with this year, and haven’t ever gotten too much into my personal life here beyond my experiences with dealing with matters of race. But I alluded to it in How To Hang In There: Today Baratunde Thurston’s Podcast, How To Citizen, Helped. In this piece, I spoke about knowing how we all have our burden to bear in life, and in this year, in particular, as we deal with a global pandemic, a call for our country to face its true history, and deal with our racial reckoning, reparations, and healing.

This year has impacted each and every one of us in all kinds of ways. I know some of you might be feeling the burden of being a parent who all of a sudden has to become an assistant teacher while your young child does their online schooling, and, figure out how to work from home at the same time. That teachers are working extremely hard to teach simultaneously in the classroom, and online, and worry, too, about exposure to the virus for themselves, and their students. That some of you are feeling isolated by working remotely. That some of you are trying to pay your bills as a small business owner, when your business isn’t able to operate at full capacity, or at all. That some of you are out of work. That some of you are trying to stay connected and care for an elderly parent with visiting restrictions in place, and that some of you worry about exposing immune-compromised loved ones. Some of you have to work in grocery stores, in public transportation, and other businesses with high volumes of person-to-person contact, and have never had a break. That some of you have lost some one you loved, or multiple people that you loved. That some of you work in hospitals–nurses, doctors, housekeepers, dietary workers–and are seeing far too much of death, and experiencing trauma and stress from all that you are witnessing while working countless days, hours, months, trying to save lives, and maintain a safe hospital environment.

And in all of this I am reminded of the words of local community activist, Pilar McCloud. In this post, Pilar spoke of how many people in the Black community have always had to struggle and work through adversities and obstacles due to bigotry, and systems of racism. She sees how this pandemic is just another thing for Black people to work through, and finds it interesting how more white people are finally getting to see what struggle feels like, with the pandemic, and their new awakening to racial injustice.

As for me, I work as an Activities Therapist at a psychiatric hospital, and run groups with patients on an Adult Intensive Treatment inpatient unit. Because of that, I have stayed working full-time in person, and while it is not dealing with the same kind of intense stress and trauma of working in a medical hospital, it has felt stressful at times to me, and I know it has to my co-workers. I am grateful I still have a full-time job that gives me structure, provides me with a daily purpose, and ensures that I can continue to have an income. I love working with our patients. I have amazing, compassionate, co-workers, and we pull one another up, mostly with humor, especially at the times we need to laugh, so we don’t cry.

But our patients are in emotional distress. The pandemic has exacerbated their depression, their anxiety, their paranoia, their mania, their feelings of isolation, and their psychosis. Trying to get our patients, who share a common milieu space, when they are at various levels of awareness, psychosis, and, or paranoia, to wear their masks, and to social distance, is trying, to say the least. To keep constant vigilance of possible patient and staff exposure, and get updates on actual staff and patients who have contracted the virus, especially on one’s own unit or area, is unsettling. To try to support people suffering more during this global pandemic, while we ourselves are suffering, can also be challenging.

In another capacity at work, I am the Coordinator of the hospital’s Healing Arts program. Started by my former supervisor, Barbara Ostrove, who was director of our Occupational Therapy Department, I, along with support primarily, from fellow staff member, Occupational Therapist, and artist, Laura White Carpenter, write grants, and develop and coordinate arts programming for our patients and staff in the form of artist residencies, exhibitions, and special events, all utilizing the arts to promote wellness and healing, and to humanize the hospital experience, and environment. This fall, we were supposed to have one of our past resident artists, violist, Ashley Frith, do an artist residency, but that was not to be with the virus. We are trying to hold off a bit for her to be able to come in person to connect with our patients in an interactive group format, as well as to offer some relief for our staff through performance and conversation. If that is not possible, we will have to think of possibly doing a live or recorded video residency, something we are hoping to avoid, as we feel it’s not the same experience. We may create an entirely different kind of residency experience all together. We shall see.

Still in the early months of the pandemic, I tried to be all heroic, and Laura and I did sidewalk chalk art murals outside our hospital’s entrance–brightly-hued florals and hearts, with words of thanks–which were greatly appreciated by staff. I was lucky to connect with local artists, Jacques Bidon and Nafis White, who so thoughtfully made beautiful handmade prints and thank you card sets that they distributed to three local hospitals’ essenttial workers. At our hospital, we received 100 print sets which we were able to distribute to our entire housekeeping staff, to our Patient Assessment Services (emergency room) staff, and to the staff taking care of our geriatric and dementia patients on our Senior Specialty unit. I also was able to procure a grant of three Amazon music loaded tablets for our inpatient units to use from the non-profit organization, Musicians On Call. We see how much music helps our patients to feel calm, connected, and energized, and so we were grateful to be granted the tablets.

Yet, after this initial burst of energy to use the arts to help us get through this time, I came to a standstill. These days I often feel like I’m this high functioning depressed person, just getting by each day, and not delivering the kind of care and attention I should be to our patients. I cannot bring myself to come up with another arts thing to give to patients and staff. It’s a Catch-22. This is exactly the time the arts can help us, and it is what I preach. I see how many artists, locally, and nation-wide are still showing up, and making the best of these times, and lifting us up with their work, yet I am unable to move myself to action.

I say all this, not to get off-topic, or to get attention or sympathy. I say this because it is real, with this time we are in, and each and every one of us, I know, has their own story of how this time is impacting them, and how they are managing. I also acknowledge that feeling ungrounded with all that is going on has made me feel scattered, unable to commit and follow through at times when it has come to continuing the daily, long-term work of fighting to break down racism and the racist systems we live in. I touch upon these themes in the Baratunde Thurston post, even though I haven’t ended up following through to continue to listen to his podcast beyond another episode or two. I hope that you are able to acknowledge how you are feeling and are able to share that with someone, and I invite you to please feel free to share here below, how you have been managing during this year of Covid-19, and this time of a critical call for us to finally face our dire need for racial reckoning in this country.

Still, we all manage to carry on in some way. It is not all gloom. Yes, there are moments of joy, too, that appear for me, and I truly hope for you, too.

Our beautiful New England fall still came, and yet without the news of George Floyd, Ahmaud Arbery, Rayshard Brooks and Breonna Taylor, daily filling our newsfeed anymore, I worried that many white folks were forgetting about the fight they so vehemently said they were there for in June. With covid fatigue, and racial justice warrior fatigue in mind, I wrote, Fighting Racism Got You Down? Don’t Make Those Brunch Reservations Just Yet. I worried that so many of us who were waiting for the Presidential election, with hopes that we could oust the current one, would, once that happened, think all was well.

We do hold hopes the new President, will in January, begin to undo all of the evil policies and legislation put into place that hurt mostly Black, Brown, and Indigenous people, as well as our immigrant community. Yet, the post warns us to stay vigilant, and to keep fighting, and to not let things go back to the status quo. It asks white folks to not just rest easy, because the blatant hate is gone, and we are being taken care of again. It asks us to not forget our privilege, or the will to make things truly equal for every one, to include everyone, on not a hierarchal level, with white people at the top, but one where we are all together, side-by-side. (My August 2019 post, Every Day, Chip Away at De-Centering Whiteness speaks to this in more detail)

While I was able to, though more sporadically, keep writing this year, I got stuck in my own head, thinking I was real special, and developed a case of the white fragility. In, What I Didn’t Want To Share, Or: If This White (Jewish) Woman Went To Confession, This Is What She’d Say, you can read all about my bout with thinking as a white person, I should step back from writing about race, and how still after so much time of writing about race, and educating myself and doing anti-racism work, I still worry way too much about saying or doing the wrong thing in my cross-racial conversations and actions. Thankfully, through friends, Black and white, who help give me perspective on this, I carry on, striving to not worry what others will think, ready to engage in the conversations that come up because of my writing or dialogue, and take responsibility for what my impact is. I am also thankful for friend, and racial justice activist, Joan Wyand, who shared about the new podcast Eyes On Whiteness, which helps me look at how whiteness operates within me, and others, and the world around me. It’s truly helpful, and I highly recommend it.

In my most recent post, Catching Back Up With Artist Kenya (Robinson) And The Luck, Or Lesson Of, Finding What You Seek, written right before Thanksgiving, I share part of an older post never published about an encounter with visiting Florida artist, Kenya (Robinson) who gave a talk at the Providence Public Library for the exhibition, HairBrained. I follow Kenya on Instagram now, and in November, was lucky to catch an IGTV video she made on what she, as a Black artist, noticed was a passive-aggressive style of communication she was encountering, with white women. I was moved by Kenya’s thoughts, and desire to share with those of us listening, how to use our own inner creativity to ‘hack’ these conversations to be able to communicate authentically, and move beyond the way we’ve been programmed for survival with all of our ‘isms, and in doing so, create a new pathway to tap into our true inner energy where we are all the same.

In my blog post title, I use the word ‘luck,’ but when Kenya in her video held up her fortune cookie fortune which said, ‘If you seek it, you shall find it,” she emphasized that there are no coincidences, and so my happening upon her talk that day was meant to be, and I am grateful for the lesson, and the reconnection to both Kenya, and her important work. You can follow her at www.privilegeasplastic.com and on IG @kenya9.

Which makes me think about the word intention, as my year of 2020 blogging comes to an end, and this challenging year is about to wrap up. I have been challenged to keep the things in my life that I say are important to me–continuing the work required to bring about racial justice, equality and freedom, being present in the way I want to be for my two daughters, for my friends, and for my family, being present and giving better energy to serving our patients in my workplace, delivering more Healing Arts programming in my workplace, and opening myself up to the possibility of loving, and letting myself be loved in a romantic relationship.

I know we all have our lists, and that mine is probably sounding just like any New Year’s Eve Resolutions list. Yet, I hope not. I know I can be gentle with myself at this time, and not get down on myself for the things I feel I can’t muster the energy for. I hope you will, too. I also know, as is quoted often in this work of racial justice, in the words of Dr. King, that “the moral arc of the universe is long, but it bends toward justice.” I know that I won’t give up the work, and that the work started long before this time we are here on earth, and will continue long after we are gone, and each thing we can do, every day contributes to making things better for all of us. I know that we can make this new post-covid world a better place for all, and not go back to our ways that don’t make a way for all of us, but just for a few of us. I know we can do this. I know we must. I pray that we are not in a rush to get back to ‘regular life’ where we are all about having to make enough money so we can consume things that make us feel comfortable, and fool ourselves into believing everything is all right, forgetting the valuable lessons about what matters to us, is us. All of us. Not just some of us. All of us.

This year, in particular, I thank you all from the bottom of my heart for your support, for engaging with me, and with one another about how race, racism, whiteness, cross-racial connection, and the work of breaking down racism and racist systems shows up in you, and what you are doing about it. I wish you the will to keep doing the work to make the spaces where you are, free and equal, truly equal and equitable, with all perspectives honored and included, and with whiteness de-centered, and not above any other perspective. I wish each one of you, peace, continued good health, safety. I wish you joy.

“We can’t just jump into one another’s lives, and expect to know each other right away…”

That was artist, Kenya (Robinson), at the pre-reception for her lecture at the Providence Public Library’s HairBrained Exhibition, held in 2018. HairBrained was a look at the ways in which hair defines and reflects culture, self-identity, agency, and politics. Kenya’s talk, as stated in the library’s announcement, “offered a critical analysis of blondness, baldness, and beauty related to our collective hair politic, identification of gender, and normalization of whiteness.”

A small group of mostly white women stood around the oak library desk used to display a variety of blond hair bundles, which included: two-inch snippets of corn-silk smooth locks tied at their tops with elastic bands, long, textured ponytails with combs provided nearby, and a wooden hand-mop whose bristles were replaced with lengths of bleach blond hair. Kenya, who reminded me of how artists so well model the example of dress as self-expression, and whose outfit I envied, wore a white cowboy shirt with fuchsia fringe, similarly colored-velvety leggings, and high-heeled, sleek ankle boots. She did not have,  or wear, as we’d later learn of Kenya’s penchant for wigs, blond hair, but instead sported a short, natural style. Her comment about jumping into another’s life was in response to a woman who was yanking at one of the textured ponytail with a comb, creating a snarl midway through that seemed to be impossible to comb out.

“If that hair was attached to your child’s head, you wouldn’t be tugging on it that way. That would hurt, right? With our hair, we start at the bottom, and hold the hair above the snarl so that the person doesn’t feel the pain..well, sometimes people do pull like that, and the child complains, but you get what I mean?” Kenya said to the woman. The woman acknowledged Kenya’s comments, and moment of education, and re-arranged her grip on the ponytail and carried on with less resistance.

I attended Kenya’s talk and was struck how she managed, aside from her endearing vulnerability and sense of humor, which was a gift in itself, to ask us to think about inclusion, exclusion, racism, gender, and all the other “isms” as Kenya called them, without necessarily naming them. Instead, she challenged us to believe someone when they shared their lived experience with you. And, by the existence of her work dissecting “blondness,” and in turn, femininity, gender and racial identity, she asked others to see her and her work for what it is, and not through the gaze of gender or race. Kenya shared there were, and still are times where she has felt literally rendered voiceless, or her work not seen as intended, because of her gender (she did not clearly say, also because of her race) until she erased herself out of it. I cannot do Kenya, or the experience of her talk, as well as her work justice, but please know, that I was deeply moved and inspired by it, and thank her for that.

Another event I attended was Dr. Quincy Mills‘ talk which focused on the book he wrote on the history of Black barber shops from the late 19th and early 20th centuries, Cutting Along the Color Line: Black Barbers and Barber Shops in America. Dr. Mills is currently Associate Professor of History at the University of Maryland. I learned how black barbers during slavery and shortly after emancipation, were employed to service white men with shaves and cuts, as white men liked to have their domestic services performed by black men and women, and as the role of the barber was looked at as too inferior a service for a white men to perform. Mills also asked us to look at the fact, in allowing black men to be their barbers, they had to trust that an enslaved, or freed man with a razor blade in his hand, was still inferior, in order to dismiss any internal inkling that he would ever consider slitting the throat of the very man that once enslaved him.

We learned of the prominent black barber, George Meyer who served President McKinley, and how doing so, made him a central figure in Republican politics, as he was seen as a gateway to the political office, and the associated favors that came with voting the President in. Of course, white clientele in the newly developing Jim Crow laws years didn’t want to sit side-by-side with black men, who they considered less than them, so black men were shut out from black-owned barber shops, until black barbers started to open shops in black communities beginning in the 1920’s and 1930’s. With the Depression era upon them, the black-owned barber shops became a space that was much more than a place to get a haircut and a shave, but a free, public space, or cultural center, where the politics of the day could be spoken about without worry, pass the time talking about the joys and struggles of daily life, and coming-of-age life lessons for young black boys.

Aside from the great interest I had in learning about the history of the shops, Dr. Mill’s talk brought back to the surface for me the time I spent working in a black-owned barber shop and salon in Boston in 1980-81. In a city, highly segregated, and rife with racial tension at the time, Danny’s His and Hers Salon was situated on Massachusetts Avenue, in between the bordering black neighborhood of Roxbury, and the more affluent, white neighborhood, the Back Bay. I got to experience firsthand the cultural space and conversation that Dr. Mills speaks of in his book, and from the customers’ perspective, too. I wrote a little about that experience in the 2012 post, Black Beauty Back In The Day: What I Learned About Jheri Curls From The Grown-Ups, And Interracial Marriage From A 5-Year Old.

As I revisited this piece, I see how much there would still be to say about the social atmosphere of this space, as well as how I’ve grown to more understand the how and the why of the much deeper, necessary teachings about the relationship between black men and white woman that showed up that day in the presence of a five year-old Black boy who was a teacher I did not yet fully recognize as such.

Inspired by this artist and scholar, I had to attend to my own craft. I went to the HairBrained writing workshop led by local writer, Mary Kim Arnold, and had lunch afterward with my writer/artist friends. I was reminded how artists really break down life, and their experiences, and even though I suppose I do that very thing in my writing, when in conversation, I always feel much more surface and superficial, and much less of a critical thinker when I hear my friends’ critical thinking, reflections and making meaning of an experience–whether it be a book, movie, art exhibition, or the writing workshop we just attended.

In reflecting on making meaning, and understanding myself better as a white woman with a strong desire to connect across race, and to be able to communicate without over-analyzing, or worrying about how I’m coming across, which gets in the way of being myself, and in the way of a true connection, I reconnected last week with Kenya (Robinson)’s work, this time, on Instagram. I listened to her video, titled, WHITE BITCHES IS CRAZY (or the creativity of passive aggressive language) Another tool for hacking the IZM…

In this video, Kenya shared on the concept of the lexicon of passive aggressive language, and in particular, on her experiences with this language exchange with white women, both recently, and in her past. These experiences, she said, left her at first confused, unaware it was happening, or knew and sometimes would let go, but, most often, got her mad.

Kenya began by making it clear, with what she called her “pure positive love energy miracle tone healing music” playing in the background,  that her aim in this talk was to approach these lexicons as a language which we are acculturated into, and to personally, get away from a judging framework, so that her vibration and energy can stay high, and won’t get trapped in judging, which brings her energy down. Kenya generously wanted to share the tools of creativity with others, so they could use them to hack these languages, and have the ability to open up to the infinite creative possibilities that lie within us.

Kenya looked at the etymology of the words, passive and aggressive. She shared how while Black people’s style of communication is said to be ‘real’ or ‘authentic,’ as if it is compelled to be so due to feeling safe or comfortable, it is actually a tool of survival, learned by always being surveilled, being watched, so that Black people feel they need to respond, to give answers, to be reporters.  It is an acculturation learned as a response to a stressor; a survival tool. White women, in their closeness to white patriarchy, are acculturated to conform their communication in response to the stressor of patriarchy, yet Kenya wanted to also be careful to not  give all credit to that idea because it can get in the way of the creative possibilities that can come from the investigation, dissecting, and understanding of this behavior, which is more complex than stemming from a single source

Kenya believes by working within that middle space between the dichotomy of passive and aggressive, and understanding how acculturation of Black people’s and white people’s lived experiences under the framework of all the isms, impacts our language and styles of communication, we can practice using creativity to hack our communication, instead of the survival technique which we were programmed to use. This will open up tremendous possibilities for connection, and to those places inside of us where our cores, our entity, our energy, is the same, and where we can learn and grow and help one another.

I listened to her talk twice to absorb and process all that she said, and will listen to it again, I’m sure, to have it soak in even more. There is definitely more detail about how and why passive aggressive communication shows up, about our inner and outer racialized “programming” and how to creatively hack our communication, so I encourage you to listen, one, two, three, or however many times you wish to so that you, too, can learn and grow through Kenya’s offering.

 I know for myself, as a white woman who has always considered herself definitely passive, and indirect in my communications with others, I have not considered the impact, and the how, when, where, and why, of my own passive or passive aggressive style of communication with Black women or men. I will here on in, be alert to this, and as Kenya asks us, will begin with the outer creative hack every time, and the longer term inner-programming of acculturation under all the isms, every day, every time. That is the only way to open up creative possibilities, to open up a new way of being together in this world.

Kenya finished by saying that in practicing this creative language hacking tool, she, and we, can be responsible and active in our communications, and she finds when she doesn’t allow this passive aggressive communication to be heaped upon her, to burden her, she feels more power, and more energy and positivity, which allows her to be more creative, and more engaged with her creative process.

To put it more beautifully, I will share the closing words of Kenya’s talk: “I need to talk to whoever, I need to be creating with my fellow human beings because this is going to make me…so I can tap into that source inside of me. (Holding up fortune cookie fortune) “If you seek it, you’re going to find it.” You’re going to find creative ways to interact with other people. And, you’ll find creative ways to make beautiful things happen. Its going be gender non-specific, intergenerational, non-binary, transracial, cut across class, geography…none of these things are going to be impediments because it comes from a source that is timeless, that is ultimate creativity, that is unknown, in the most beautiful ways.”

I have deep gratitude for finding my way to Kenya’s talk this day. If you seek it, you’re going to find it.

To follow Kenya (Robinson)’s work, visit her at www.kenyarobinson.com, and on Instagram @kenya9

Hype Man actors, l to r, Phoenyx Williams, Jeff Hodge, Helena Tafuri, (photo credit: Erin X. Smithers)

I knew I wanted to see Hype Man: A Break Beat Play as soon as I heard about its November run at The Wilbury Theatre Group in Providence. And after seeing the play, I knew I had to write about Hype Man’s timely theme of race, police brutality, and the impact it has on the relationship of the play’s three characters: Pinnacle, the white rapper, played by Jeff Hodge,Verb, Pinnacle’s Hype Man, who is black, and is played by Phoenyx Williams, and Peep One, the woman who creates the group’s beats, played by Helena Tafuri. The play written by break beat poet and playwright, Idris Goodwin, was expertly directed by Don Mays, who allowed each actor to shine in their respective roles.

Verb and Pinnacle grew up together, the best of friends, and bonded further through music, and the formation of their own hip-hop group. Peep is a newer addition to the group, but is vitally important with her attention-grabbing beats. The entire play takes place in the group’s rehearsal studio–save one time the set doubles as a television stage–the spare set consisting of an elevated round platform fitted with a mixing table, a stool, and a microphone. I learned from the play’s director, Don Mays, that the tri-colored, at times overlapping, voice patterns painted on the black walls behind the set, represent the three recorded voice patterns of the actors.

In the opening scene of this one-act play, Verb enters and begins fumbling with the sound system. Pinnacle sneaks up on him, and after a good laugh, and greeting one another with a hug, we learn Verb is just returning to the group after a month-long hiatus for therapy, for what Pinnacle later calls Verb’s “wild behavior.” Peep enters in a rush, and apologizes for being late for rehearsal, sharing there was a police shooting by the highway that slowed her arrival. Verb, looking at his phone, reads that police shot a young black male, 17, named Jerrod. Peep picks up her phone and reads that Jerrod had just gotten the news that his grandmother had taken a turn for the worse in the hospital and was rushing to get to her before it was too late. He was unarmed. He was shot with his hands up while running away from officers.

Sound familiar? It is in this moment we, the audience, are about to witness […]