In Dahomey (1902)
Paul Lawrence Dunbar (lyrics)
Jesse A. Shipp (book)
Will Marion Cook (music)
Part IV of IV
The Theatrical Dilemmas of Representing the “Race Problem” for
a New Black Theatre
Part I
1) The problem of origin, the absence of
precedent, and the drive (and/or refusal) to
infuse a hostile theatrical environment with
elements of Black folk/popular Culture.
Moses and Carrie Brown
The Absence of African American Theatre and the
Indispensable Cultural Fabric of African American Culture:
A Problem with No Home-Grown Solution?
MOSES (loudly) Mad about the stage was Carrie Brown, She served at a draper's
shop in town; Each new piece they play'd, There you'd find this maid First night in
the gall'ry sitting down. Carrie could recite, "The Soldier's Dream"; All the
shopgirls held her in esteem, For in the dining hall She would entertain them all,
And, when applauded, she would almost scream:
CHORUS I wants to be a actor lady Playing, you know, Star in the show; Spotlight
for me; no back row shady; I'm the real thing; I dance and sing; Miss Terry may
make Shakespeare go, But she can't sing, "Flo from Pimlico," And I wants to be a
actor lady too -- indeed I do! Carrie said that Shakespeare was an ass, Barrie
wasn't bad, but still no class; "If George Sims," said she, "Wrote a play for me, You
to see me act could get no pass." "Over my dead body first, you cur! Death to life
with you, I much prefer!" "Farewell, Claude, we must part! You have broke my
trusting heart!" With lines like them I'd make all London stir.
CHORUS I wants to be a actor lady Playing you know, Star in the show; Spotlight
for me, no back row shady, I'm the real thing, I dance and sing; Miss Mary Moore
is splendid truly, But she can't warble "Mister Dooley;" I wants to be a actor lady
too -- indeed I do! Carrie wrote to Mister Beerbohm Tree: "Though to you I may a
stranger be, When your season starts, Of the ladies' parts Give the most
important one to me; Olga Nethersole is very fine, But her acting can't compare
with mine; I'm just about her height; Herbert, don't forget to write, And say a five
years' contract I may sign!"
The Theatrical Dilemmas of Representing the “Race Problem” for
a new Black Theatre
Part 2
2) How does one infuse “authentic” AfricanAmerican culture into a cultural milieu where
both African-Americans and Africa have
already been “invented” in different terms to
suit different aims?
“On Broadway in Dahomey”
RAREBACK (laughing) Stick to me and after we're in Dahomey six months if you like it, I'll buy
it for you. I'll tell the King over there that I'm a surveyor, and you're a contractor. If he
asks for a recommendation, I'll tell him to go over to New York City and take a look at
Broadway -- it's the best job the firm ever did, and if he don't mind, we'll build him a
Broadway in the jungle.
(song)
If we went to Dahomey, suppose the King would say We want a Broadway built for us, we
want it right away. We'd git a bunch of natives, say ten thousand or more Wid banyan
trees, build a big department store. We'd sell big Georgia possums, some water melons,
too To get the coin for other things we'd like to do. If we couldn't have real horse cars,
we'd use zebras for awhile On the face of the Broadway clock, use a crocko-dial.
CHORUS On Broadway in Dahomey bye and bye We'll build a Bamboo Railway to the sky.
You'll see on the sides of the rocks and hills, On Broadway in Dahomey bye and bye. We'd
git some large Gorillas and use them for police, then git a Hippopotamus for Justice of the
Peace. We'd build a nice roof garden somewhere along the line, Serve Giraffe Highballs
and real Cokenut wine. We'd use Montana Diamonds to make Electric light, And then
have Wagner sung by parrots ev'ry night. We'd have a savage festival, serve Rhine-os-erus
stew, Have pork chops and U-need-a Biscuit too.
The Theatrical Dilemmas of Representing the “Race Problem” for
a new Black Theatre
Part 3
2) The problem of reworking “contaminated”
genres and meta-narratives to suit new aims
while, at the same time, fore-fronting the
dangers of this “contamination.” (Or: How
does one show both “sides of the story”
without ignoring cross-pollination.)
The Ham Nation
Parodying Emigration, Atavistic Primitivism, “Biblical”
Justifications for Slavery, and Early Iterations of Pan-Africanism
CICERO Now dat I've got this gold, I'm goin' to have my pedigree
wrote. There's a gentleman down in Cheaterville dat can find
the Royal ancestors for anybody dat got fifty dollars to spare
for his trouble. In fact, he said there was a time when every
darkey was a king.
(song) Evah Darkey Is a King Dar's mighty curious circumstance
Dat's a botherin' all de nation. All de yankees is dissatisfied Wid
a deir untitled station. Dey is huntin' after title Wid a golden
net to snare 'em! But dey ain't got all de title For it is a 'culiar
ting. When a dahkey stahts to huntin' He is sho' to prove a
king.
CHORUS Evah darkey is a king! Royalty is jes' de ting. If yo' social
life's a bungle, Jes you go back to yo' jungle, And remember
dat your daddy was a king. Scriptures say dat Ham was de first
black man. Ham's de father of our nation. All de black folks to
dis very day B'longs right in de Ham creation. Ham, he was a
king in ancient days, An' he reigned in all his glory. So ef we is
all de Sons of Ham, Natcherlly dat tells de story. White folks
what's got dahkey servants Try an' get dem every thing. You
must nevah speak insulting. You may be talking to a king.
The Theatrical Dilemmas of Representing the “Race
Problem” for a new Black Theatre
Part 3
1) How does one invent a “new and uplifting”
theater from the racist propaganda and
genres of times past, and, at the same time,
manage to avoid obliterating the very history
which constitutes the justification for a need
for this new theatre?
Hybridity and In Dahomey:
Reworking Theatrical Conventions by Manipulating Theatrical
Expectations
Minstrelsy
Vaudeville
Popular Art
Folklore
Musical Comedy/ Light Opera
Farce designed to Lampoon “Repatriation” as a
solution to the “Race Problem”
Minstrelsy and the “Race Problem”:
The Race Problem and the Problem of Representing Race
Act 1
(Public Square with a house doorway. Above the door is a sign:
"Intelligence Office." A crowd is assembled around a medicine show
pitchman. Applause at rise of curtain. A banjo player acts as an
interlocutor as Tambo, and Bones tell one or two jokes. The banjoist
sings a song. Dr. Straight, the pitchman, addresses the crowd.)
[...]
DR. STRAIGHT Wait, wait, wait, this is not all. I have another preparation,
Oblicuticus, "Obli" -- in this case, being an abbreviation of the word
"obliterate." "Cuti" -- taken from the word "cuticle," the outer skin,
and "cuss" is what everybody does when the desired results are not
obtained, but there is no such word as "fail." This wonderful face
bleach removes the outer skin and leaves in its place a peachlike
complexion that can't be duplicated -- even by peaches. Changing
black to white and vice versa. I am going to spend only one day in
your city, but I am going to convince you by exhibiting a living
evidence of my assertions that these two grand preparations
Straightaline and Oblicuticus are the most wonderful discovery of
modern times.
Playing-Out Good and Bad Solutions:
The Third Act
Act 3: “My Lady Frog”:
Parodying Sophomoric Solutions
Act 3
My Lady Frog
(sung by chorus) Where the water-lilies cluster 'Neath drooping willows;
When the moon so soft and tender Peeps through the trees; Where the
vines of brilliant lustre, Find mossy pillows; Where the ferns so tall and
slender Sway with the breeze, There lived a lady frog, green pollywog was
she; Her lover tho' was one of brown. Throughout the whole night long a
little song sang he, And whispered for the moon was looking down.
(sung by male frog) My lady frog of opal hue, Here on this log, I sing to you.
Bright as the flies That light this bog, So are your eyes, My lady frog.
(sung by chorus) As the lovers sat a-waiting, From o'er the way Came a frog
with chest a swelling, A bull frog green. Told he of a palace waiting, In
grand array, How the lady of his dwelling, Would be a queen. And tho' 'tis
sad to say, he took away this maid. The frog of brown now croaks with
pain, And when the night is still, from o'er the hill, 'tis said You hear in
mournful tones the old refrain.
Act 3: “My Dahomian Queen”:
Parodying Sophomoric Solutions
(Repeat male solo)
(Exit Chorus and lights out. Change to Garden of the King of Dahomey)
My Dahomian Queen In Dahomey so grand, Just along side the strand, Lives a Moorish maid so near and dear to
me. When I sought her heart and hand, She made me understand That if I wish'd my little bride she'd be. When
the moon is brightly beamin', From the azure skies a streamin', In my cottage I'm a dreamin', A dreamin' of our
weddin' day. Natives of exalted station, Potentates from ev'ry nation. Will be there to hear me when I say -CHORUS My Dahomian queen, My dusky turtle dove, What a beautiful scene, Me and my lady love. She's so
sweet and serene, Fresh from the jungle green, Royal Dahomian queen, My Dahomian queen. When I become
a king, All the jingle bells will ring, While through the streets on palanquins we're borne. 'Twill be the grandest
thing, Just to hear the natives sing, As loyally they fall before my throne. Caboceers will be our sentry, 'Rabian
knights will be our gentry, The wonder of the twentieth century. A-makin' even sunlight fade. Seems the
breezes will be sighin' Nature with itself be a-vieing A-singin' while my babe and I parade -(Repeat chorus)
Caboceers Entrance We are the loyal subjects of King Eat-Em-All, The ruler over all our states both great and small.
Great is his name, more great his fame, Before his Majesty all nations prostrate fall. Forward with chargers
dashing, Their armor brightly flashing, With bayonets a clashing Like demons they hunt the fray. The Caboceers!
We greet with cheers! The Caboceers, long be their years! The Caboceers! We greet with cheers! The
Caboceers, long be their years! Mighty their reign and glorious, Their power all victorious, Like gods of light
before us They come, the world to sway, to sway, to sway.
Folklore and New World Roots
Folklore:
Harris, Uncle Remus, Mars John
and Old Black Joe:
“to preserve in permanent shape those curious
mementoes of a period that will no doubt be sadly
misrepresented by historians of the future."
Joel Chandler Harris
(1845-1908)
Stephen Collins
Foster
(1826-1864)
The Contented
“Coon”
“Ol’ Black Joe”
1) He was a writer and a folklorist
2) He is the author of the Uncle Remus tales, which brought the folk figures of
Br’er Rabbit, Jack the Slave, Mars John, and “Old Black Joe” into the
national lexicon.
3) He saw slavery as a “civilizing institution.”
4) He was greatly admired by Mark Twain and James Weldon Johnson
5) His interlocutors claimed to be reporting tales that were handed down
from “Ol’ Black Joe.”
-------------------------------------------------------------------------------------------------------CICERO I was jest standin' here thinkin'
what a shame it was that Master John died so soon after he built this house. [….]
CECILIA LIGHTFOOT Well, if he hadn't dropped out, you wouldn't have dropped in. Of course, it was
very nice of old man Goodman to will you this property, and you ought to be very grateful to him for
no other reason than that he outlived all his heirs. But I lose my temper when you say Mars John.
Why don't you say Mr. Goodman?
CICERO Well, I 'pose I could say Mr. Goodman jest to please you, but when I think of the many kind
things Mars John done for me .
Folklore:
Harris, Uncle Remus, Mars John
and Old Black Joe:
“to preserve in permanent shape those curious
mementoes of a period that will no doubt be sadly
misrepresented by historians of the future."
Joel Chandler Harris
(1845-1908)
Stephen Collins
Foster
(1826-1864)
“Ol’ Black Joe”
-------------------------------------------------------------------------------------------------------“Emancipation Day”
(Repeat chorus) Many long years ago there was poor Old Black Joe; Use to
walk just like this for a prize. There was big Jasper Brown, the cake walker
clown, Walk'd like this with his best gal Miss Lize. Old Tildy Snow, and Bill
Jones, with his rheumatic bones, To see them walk was fun. With that oldstyle prance, they have no chance When this iate-style cake walk is done.
The Question of a Common Origin:
There’s No Place Like Home
Act 2, Scene 1
(Exterior of LIGHTFOOT home, garden of the summer house. Chorus sings "For Florida.") For Florida our
home so bright. Our voices ring with true delight. From verdant vale to arid stand, She is for 'ere a
summer land. Her tree, her rocks, her streamlets clear, To all our loyal hearts are dear. So let us sing
it loud and long, For Florida, a song, a song. We are the children of the sun. Upon our brows His
work is done. Tho' rude and black our faces be, Our hearts are brave, our hands are free. And as we
sing, so shall we strive, As long as loyalty's alive. Our hearts, our arms, our souls, hurrah, For
Florida! For Florida!
(Enter from the house, CICERO LIGHTFOOT in shirt sleeves and apron, spoon in hand)
CICERO Dat song expresses my sentiments to the letter. After all, there ain't no place like Florida.
MOSES 'Ceptin' Dahomey, but outside of Dahomey and Boston, I endorse your statements.
CICERO I don't know nothin' about no other place 'cept Florida. It might be the worse place in the
world, but whether it's worst or best, it's home, and, Mose (cautiously), if Dahomey pulls up shy,
I'm comin' back here.
Embracing a Dark(ie) Past:
Cicero: Reclaiming the “Shameful” Instead of the Imaginary
(Chorus enters as African chiefs, soldiers, natives, dancing girls. After
march, chorus comes to front of stage, kneels and sings choral
descriptive of glories of Cannibal King and Caboceers. At the middle
of the choral, they rise at the words "Mighty ruler of our nation"
and sway to and fro with swinging palm leaves. At the end, the
chorus falls prostrate to the floor on their faces to greet SHYLOCK
HOMESTEAD and RAREBACK PUNKERTON dressed as Caboceers.
Song: "Every Darkey Is a King." Dialogue follows in which the box
with cat's eye is found . CICERO LIGHTFOOT is disgusted with
Dahomey and announces his return to America. The musical
concludes with two rousing numbers: "Emancipation Day," and a
triumphant cake-walk -- most popular dance of the era -- a
production number that lasted twenty minutes.)
Moses and Jonah:
Emancipators and Reluctant Prophets
Moses Parts the Red Sea
Jonah Cast-Back onto the Shore
My hard luck started when I was born, leas' so the old folks say. Dat
same hard luck been my bes' fren' up to dis very day. When I was
young my mamma's frens to find a name they tried. They named me
after Papa and the same day Papa died. For I'm a Jonah, I'm an
unlucky man. My family for many years would look on me and then
shed tears, Why am I dis Jonah I sho' can't understand, But I'm a
good substantial full-fledged real first-class Jonah man . A fren' of
mine gave me a six-month meal ticket one day. He said, "It wont do
me no good, I've got to go away." I thanked him as my heart wid joy
and gratitude did bound. But when I reach'd the restaurant the
place had just burn'd down. For I'm a Jonah, I'm a unlucky man. It
sounds just like that old, old tale, But sometimes I feel like a whale.
Why am I dis Jonah I sho' can't understand, But I'm a good
substantial full-fledged real first-class Jonah man.
Key Terms and Ideas
1)
2)
3)
4)
5)
6)
7)
Minstrelsy
Atavistic Primitivism
Cultural Production as Cultural Fabric
Early Pan-Africanism: The Agenda of Origin
Black Nationalism and Internationalism
Hybridity
The (in)compatability of European Forms and African-American
Expression
8) Using Theatre to Redress Issues and Concerns that, in part, are the
creation of the theatre of times past (turning to minstrelsy to help
solve the race promlem)
9) Meta-theatricality
10) The idea that the origin of African-American identity lies in the
cultural production of the Southern plantation