That’s the title of a document that appeared online following the death of George Floyd — and after theaters across the country started posting statements on social media in solidarity with Black Lives Matter.
Thursday, September 24, 2020
People of color in Bay Area theater demand bold steps toward racial justice in online documents
That’s the title of a document that appeared online following the death of George Floyd — and after theaters across the country started posting statements on social media in solidarity with Black Lives Matter.
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It’s interesting to read about WSYWAT from the perspective of a non-theater human. I also find it ironic that this writer calls this a ‘loosely organized new movement’ because this is a niche of the Black Live Matter movement, this isn’t something new and shiny to admire. However, I do agree that these ‘manifestos’ and she calls them, are a significant addition to the blm theatre movement and that they call for a shift in the industry. Oh wow, this critic was called out in one of these documents? Oh wow! I really like the quote in this article accepting ‘multiple truths.’ It feels as though the Bay Area’s living document is a place to gather the grievances to create a strong set of demands and action items for the area. I find this article very interesting. I feel like there is a moment where the author tries to put WSYWAT in a bad light when they decide to not respond to the Chronicle, but the Chronicle has yet to respond to We See You’s demands. Of course they wouldn’t want to be a part of an interview with a racist company. Like are you kidding?
As someone from the Bay Area, it was interesting to read this article with so many theaters I know mentioned. I believe very deeply that theater has a responsibility to meet the demands of BIPOC people because its very purpose is to tell people's stories. Theaters should be held accountable for their actions. I believe that now is the perfect time to instigate a shift in the industry. I think that having specific demands and needs are essential to creating systematic change, I think that the Bay Area's living document is a good place to start formulating these demands. I think the article portrays the movement and demands in an interesting light but it makes sense too as it is an outside of theater perspective on something very theater oriented. I am very curious to see what demands are met and if any theaters will acknowledge their faults and help to implement systematic change.
I originally read through “We See You, White American Theatre” when it was first published. The document's link was released online and I even had it in my bio on Instagram for others to read. As I am now taking the Anti-Racist Theater course here at CMU, I ended up rereading the document. The main fact still holds true: “We See You, White American Theatre” is there to lay out what people of colors' voices want to say in regards to the arts, and I am here to help amplify it. These demands listed from the BIPOC community should absolutely be met, not just in the Bay Area where it was drafted, but everywhere. The theatre community as a whole needs to help change the system and uphold the values of their underrepresented artists. I hope to see modifications to meet the revisions called for, as well as a total shift in the way that BIPOC are recognized because it should not be necessary for them to create a list of grievances before real adjustments are made.
We See You, White American Theatre and Living Document of BIPOC Experiences in Bay Area Theater both showcase individual stories while also painting a bigger picture of the corrupt industry. I read the full list of demands made by WSYWAT and I realized how many things I never even considered because I am a white passing individual. It’s terrible that they had to write down that people in hair and makeup should have to have specific training to work with black hair and skin tones. That should be the standard. They were able to hit on so many important points, such as how internship programs should be eliminated and replaced with entry-level jobs because they are classist and keep people from entering the field. I’m hoping that all of their demands are met. It’s easy to be cynical and think there will be no progress, but there are also so many people and big names that are in support to hold these institutions accountable.
I personally really like the use of a living and evolving document like "The Living Document of BIPOC Experiences in Bay Area Theater". I think every style of spreading the realities of the current environment in the theater and demanding its change is valid, but to me, a document that is created, expanded, and structured around and by local artists and their first-hand accounts is both more personal and more real (if that makes sense at all). It seems more powerful in a way to read through the document and see just how widespread and oppressive these racial injustices have become. It is sobering. One thing I do want to call attention to in this article itself however (not in "The Living Document") is the fact that it mentions that "Most of the comments are anonymous, making it difficult to verify individual allegations.". I think this is a horrible point to make on the author's part. It's like the idea that rape allegations should be disregarded if they are "hard to verify". The fact that these racist tendencies have been PROVEN to exist in theater should be reason enough to trust their accuracy. Any doubt that you want to cast for such a reason on these testimonies is simply disregarding the problem and disrespecting the victims of racial injustice.
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