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Discussion: for colored girls who have considered suicide/when the rainbow is enuf
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Prospero año a todos! Imani habari gani!I'm delighted to start 2011 by reading Ntozake Shange's 1976 choreopoem for colored girls who have considered suicide/when the rainbow is enuf
A revival of interest in this book was inspired by the 2010 movie directed by Tyler Perry; in November 2010, for colored girls reappeared on the New York Time best seller list. However, I invite us to explore this text on its own merits, and to hold off any discussions of/comparisons to Tyler Perry's 2010 film (or Oz Scott's 1982 American Playhouse made-for-TV movie) until the end of the month.(There is already a LFPOC thread on this topic here: http://www.goodreads.com/topic/show/2...
Let's warm up our discussion with some general questions before we plunge into the twenty performance poems that make up the script of for colored girls.
- When did you first hear about for colored girls?
- Have you ever seen a stage production of the play? When and where? What do you remember most about it?
- Have you read or experienced performance poetry before you encountered for colored girls? Or was this form (which combines poetry, theatrical reading, movement and dance) something new to you?
Hi all, I'm new to the group.I first heard and saw for colored girls when I was in high school (70s). It was one of the first stage productions I saw when I lived in Northern Virginia. While we didn't go to movies, my mother did introduce us to several stage productions.
I also have the original LP which I used to play all the time. When I re-read the book this past year, the voices and intonations of many of the poems from the recording came back to me after all these years.
This was the first time I had experienced performance poetry.
Welcome, DuskyLiterati! I'm glad you've joined us.I had no idea there was an LP. I'd love to hear that! Do you know if it was the Broadway cast album?
Yes, it is the original Broadway cast recording with 14 poems. The cast was:Seret Scott - Lady in Orange
Laurie Carlos - Lady in Blue
Trazana Beverley - Lady in Red
Janet League - Lady in Brown
Aku Kadago - Lady in Yellow
Rise Collins - Lady in Purple
Paula Moss - Lady in Green
Shange herself as Lady in Orange
I was hoping with the release of the movie, they would make a CD of the original LP available. Unfortunately, this did not happen.
I had never heard of the LP either, Duskiliterati. (And welcome!)I saw the play twice - once in DC; once in Atlanta. The second time was with my daughter. I don't think that anyone who saw the play could ever forget the experience. Funny, heatbreaking, breathtaking, transformational.
I read the play before I saw it in the '80s. I saw it performed by students at LeMoyne-Owen College. Two of my best friends won parts in the play, so it was thrill to be able to see them perform in front of a live audience. Recently, my friend who played the lady in orange saw the TP film version and she said she couldn't stop crying. She said when she played the part back in college, she was just acting and reciting lines, but now that she's actually LIVED through some of those things, she experiences the play on a more personal level.
Oops--meant to add LeMoyne-Owen College in Memphis, TN. Also, I recently purchased via Amazon, the televised version starring Alfre Woodard, Lynn Whitfield and Ntozake Shange. Not sure how I missed it, but I never saw it when it first debuted in 1982. A couple of friends mentioned how much they enjoyed this particular version, so I wanted to check it out. Haven't had a chance yet, but I'm looking forward to it
I also read it first in high school- maybe late 70s? I saw it performed in Trinidad/Barbados/Jamaica between early-late 80s. I chickened out of performing one of the pieces at a UWI variety show around 1982. (God, I'd completely forgotten that!)I loved poetry, and fell in love with the poems, but of course Shange's words came to life on stage.
Duskyliterati, I envy you that album! Lori, like your friend, I was way too young to really get some of the content at first.
I first saw the play at Cuyahoga Community college in Cleveland,OH. during the early 1980s.I was a student of poetry at the time, and my acquaintance with what we now call "slam" or "performance" poetry was limited to the Beat poets. I saw the Beat's content as so individualistic and self-absorbed that I thought their work was barely literature. I remember being stunned by what happened in for colored girls, when content relevant to my life, and rhythms from world of my music, were turned into such poetry!
Who are "Colored Girls"?This work is often referred to by the first three words of the title: for colored girls.
In the wake of the movement for Black Power, Why do you think Shange chose to use the word "colored" in her title?
Do you think the title (and the play )was intended to speak to African-American women, or to a broader group of women? Does knowing that the original stage cast included black, Asian-American and Latina performers make you think about this differently?
Interesting question, Mistinguettes. Back in the day, I assumed the "for colored girls" title primarily meant Black women. African American women and possibly dark-skinned or Black Latinas. However, I now look upon the title as a "play" on words. Now, not only can I clearly see how "for colored girls" embraces ALL women of color to some degree, I'm also more appreciative of Shange's use of a variety of colors ( lady in orange, lady in purple, lady in blue, etc) and their symbolic coming together to form a rainbow.
I think it was in the 70s that I first heard the term people of color. I assumed that you black Americans had coined it to refer to all of us, the majority of the world population, who were not white. In my own environment, black people came in a wide range of shades, so it made sense to me. In addition, like Lori, I appreciated the poetic use of colored girls to represent our diversity.
Hazel wrote: "I think it was in the 70s that I first heard the term people of color. I assumed that you black Americans had coined it to refer to all of us, the majority of the world population, who were not white"Hazel, I am really interested to hear more of your perspective about reading & seeing this very American work as a West Indian woman of color (and I'm curious about which poem you "chickened out" reading on stage, too!)
I share Lori's experience of an evolving understanding of the phrase "of color." The comment about the Ladies "symbolic coming together to form a rainbow" sent me back to the first poem where the Lady in Brown invokes the title:
& this is for colored girls who have considered suicide
but moved to the ends of their own rainbows
Mistinguettes wrote: "& this is for colored girls who have considered suicidebut moved to the ends of their own rainbows
..."
That's exactly the quote I was going to use in my last post'!! :-) Is it repeated at the end also?
I've had some remodelling done and after storing all my books, couldn't find my copy. But I'm going to go search again. I'll pull all the books out until I uncover it! I'll be back.
Oh, and I think I was supposed to do Somebody almost walked off with all of my stuff. See that's the thing. This work was American, but it was also universal.
Music from the 1960s was an important part of for colored girls. It occurs to me that, just as we are readers from all over the world, we are readers of different ages and generations. So, in case you're not familiar with them, here are videos of the first two songs from The Lady in Yellow's high school dance: The Dell's "Stay"
Martha & The Vandellas "Dancing In the Street"
Speaking of The Lady in Yellow: "Graduation Night" is a poem about music, sexuality and coming of age. Are there parts of this story feel familiar to you? Are there parts that ring true? Are there parts that seem dated?
Speaking of music. I was introduced to Willie Colon because of for colored girls.
Mod
William, I will cop to remembering the swim and the pony... of course, I was just a mere child at the time (ha!)Some poems in for colored girls are famous and timeless, like The Lady in Red's monologue "no assistance." There was a time when you could say out loud the line "without any assistance or guidance from you" most anywhere in public and whole choruses of women would recite it with you, right to the final you may water it/yr damn self
What is it about this poem that makes it so powerful and memorable?
Mistinguettes, I would so love to have been somewhere in public when what you just described happened.
Denise wrote: "Mistinguettes, I would so love to have been somewhere in public when what you just described happened."Like a 1970s flashmob!
Just picked up this book yesterday and loved the prose. I had to make myself stop and actually digest the actual meanings behind the words instead of plowing through the play. So thanks for the pick because I would have never picked it up on my own accord.
Mistinguettes wrote: "Music from the 1960s was an important part of for colored girls. It occurs to me that, just as we are readers from all over the world, we are readers of different ages and generations. So, in case ..."I reread Graduation Night and wondered how safe a teenaged girl would be nowadays, driving around, drinking with a group of cousins 'who had all been my sweethearts'...when 'everybody knew I always started to cry if anyone tried to take advantage of me'. Don't think I'd recommend that for youngsters now.
for colored girls makes a strong connection between african-american women and afro-latinas.*The Lady in Blue says:
my papa thot he wuz puerto rican & we wda been
cept we wuz just reglar niggahs wit hints of spanish
Is she 'passing' and trying to be something she is not? Or is she authentically exploring what we would call today a multiracial identity, one that she can only express on the dance floor?
*Did anyone else, like Duskyliterati and me, discover the music of Nuyorican salsa giant Willie Colón because of for colored girls?
*When the Lady in Orange invokes Willie Colón so that she can dance what she has no language to speak, Colón's Che Che Cole, begins to play. (If you don't know the song, it's a tribute to the African roots of salsa, whose lyrics begin: Vamos todos a bailar, al estilo africano..., and goes on to describe how all Latin American music has African roots). Why does Shange emphasize this Afro-Latina connection?
*One often overlooked feature of for colored girls is the way it describes what women love, as well as what they lose. Both the Lady in Blue and the Lady in Orange describe loving things they have no words to expresss: te amo mas que... What do you think these unnameable things are?
Hazel wrote: "I reread Graduation Night and wondered how safe a teenaged girl would be nowadays, driving around, drinking with a group of cousins 'who had all been my sweethearts"That's an interesting question, Hazel. The tension between danger and desire is definitely there -- the physical altercation between Ulinda and her boyfriend Sammy, the threat of a knife fight and police intervention. At the same time, The Lady in Yellow is recounting her first sexual experience, which she describes as so "wonderful" that she "just cdnt stop grinnin"
I'll bet most of us find it hard to think about young women's sexual desire without thinking about sexual violence. Why is that?
And what would the Lady in Yellow say to us about that?
Mistinguettes wrote: " for colored girls makes a strong connection between african-american women and afro-latinas.*The Lady in Blue says:
my papa thot he wuz puerto rican & we wda been
cept we wuz just regl..."
This was my first glimmering that people from the US saw a distinction. Some of you will be aware that Trinidad lies off the coast of Venezuela. So, while we were very much a Caribbean culture, we were also a Latin American culture. Our 'afro-latinos' were called coco-panyol (perhaps because of skin colouring, or because of the link to the old cocoa plantations)and elements of our food and music and language and religion were Spanish. If you listen to Cuban music, you'll find similarities to calypso. If you're interested in Santeria, you'll see the links with Shango and Catholicism. The African strains are interwoven with the European ones. My childhood assumption was that we were all 'mixed', just in different proportions.
::whispering:: Sure is quiet in here...
Mod
As a male commenting on an obviously female centric book I have been reticent, waiting for my cues...but as I said in the Tyler P thread..I grew up in the same part of town as N. Shange. I new her as Paulette Williams. When she talks of Willie Colon its not surprising. I remember Joe Cuba, the TNT band, and many other Latin stars mixed with the Isley brothers and Jackson 5 in the basement parties. While not privileged to have ridden in the back seat of the convertible with her I did take those trips from Mercer County NJ to Philly and NYC on the regular just as she describes in her poem. While my sister new her personally (2 years ahead of me) I knew of her and celebrated in her celebrity..it was a heady time. Anything was possible. If you couldn't find enough excitement at 5 points or Perry Street in Trenton then Philly was only 20 minute South and NYC 40 minutes north. Your cosmopolitan dreams fulfilled in either direction..
I'm wondering if this choreopoem may be difficult for those who haven't seen it performed to discuss. As I reread this book, I was struck by the degree to which I heard it in the voices of the women I first saw performing it, even though that was decades ago. I could also hear and feel the responses - silence, laughter, whatever - of the audience around me at the time. In the case of the Beau Willie section, I can still feel the audience collectively holding their breath and I can see the pain in the face of the lady in red. For those who haven't seen the play performed, I was wondering if you were able to get a strong impression of what the stage performance was like.Another aspect of this work that I love is the humor and joy interspersed with the pain. I love the fierce voice of the little girl in the "Toussaint" section. Like Mistinguettes mentioned, lots of women I knew loved and quoted from "no assistance", especially loving the sound of "i have loved you assiduously" and the ending "you may water it/yr damn self". The other much-quoted line, of course, is "somebody almost walked off wid alla my stuff." Also frequently used by women at the time was the phrase "my love is too (insert your own word here) to be thrown back on my face." Each of these sections, actually the whole work, felt so fresh and powerful at the time. Do they hold up for younger women?
i want to say that i think i voted for this, and i am definitely interested in reading it but i just couldn't make it. apologies for this.
I hope that you can see it performed some day, Christine. I think that will be a very different experience.
hopefully a better one than seeing the movie.
I only know the book in book form. Never saw it performed. Knew from the title when I picked it up that it was a choreopoem, so as I read, I made the performance in my mind. The book still blew me away. It must have been mid-90s, as a teenager that I first read it, as I was just starting to explore and understand the world around me, and not just the world inside me. It spoke to so much that I was feeling, even though I know that I hadn't experienced half of the actual action. Beyond that, it is hard for me to talk about it, because it has always been about how the work made me feel. Not an analysis, not points to debate. It just speaks to me, and I value it. Hopefully one day I will see it performed. The women in beautiful colored dresses dancing around in my head are pretty spectacular, if I do say so myself.
Rashida wrote: "it is hard for me to talk about it, because it has always been about how the work made me feel. ..."I wonder if others are feeling the same way and are therefore not expressing their reactions to this work here.
I also have questions about whether for colored girls is a period piece. When for colored girls was first performed in bars and women's coffeehouses, it was a kind of teatro popular that opened up for the first time conversations that are commonplace today. Even within the feminist movement, women were not talking about these things. Women could talk about being for or against abortion rights, but not about the complex experience of having an unwanted pregnancy and feeling traumatized and isolated while mourning an abortion that was still the right choice:
& nobody came
cuz nobody knew
once i waz pregnant and shamed of myself
Likewise, critiquing black men's sexism in public was simply not done: Wallace's Black Macho and the Myth of Superwoman and Walker's The Color Purple were not yet published, so Beau Willie's domestic violence was a shock.
And there is a level of complexity in these poems that I think remains contemporary. We still can't deal with teenaged The Lady in Yellow talking about graduation night; we still prefer to think of teenage girls as victims of sexual violence rather than as agents negotiating some dangerous spaces like i was a woman or somethin/in order to claim their own sexual pleasure.
And The Lady in Green's somebody almost walked off wid alla my stuff is often read as an angry lover's soliloquy of victimization, but it's also about crossing that fine line between "victim" and "volunteer":
& i didn't know i'd give it up so quik /& the one running wit it/don't know he got it/my stuff is the anonymous ripped off treasure of the year
Interesting, Mistinguettes! I always saw somebody almost walked off wid alla my stuff, not as victimization but of triumphant reclaiming of self (very awkward phrasing, but I hope you can understand what I mean!) The lady in green realizes that this is not the way that this is going to go! She's not even angry, in my opinion, just glad that she caught herself in time! She's not even tossing out the relationship, just not giving herself up in the process....../what i got to do
i gotta have my stuff to do it to/
why dont ya find yr own things/ & leave this package
of me for my destiny/ what ya got to get from me/
i'll give it to ya/yeh/i'll give it to ya/
...../if it's really my stuff/
ya gotta give it to me/ if ya really want it/i'm
the only one/ can handle it
I think that most of us have known women or have BEEN women who have given up way too much of themselves in relationships. This, to me, is one of the poems that is not dated at all.
I think that the lady in yellow on graduation night may be more reflective of the increase in sexual freedom of the '70s - I think that we think more in terms of sexual violence now than then. We were probably pretty naive.
And I really hope that some of the guys in the group comment on Beau Willie.
Hmmm, W. I'd never discussed this piece with a man before, at all.So, LFPoC Gentlemen: Do you now, or have you ever, loved any of these women?
you should at least Mirandize someone before asking a question like that.
Apologies, everyone. I've been away and I'm sorry to have missed the discussion. I realise it hasn't been as lively as some of us expected, and I too, wonder if this work is dated. Certainly, I remember subjects like date-rape were new then, and domestic violence hardly spoken of. My own view was that Shange went overboard with Beau Willie. On first reading, I was struck that she'd decided to make him a 'crazy Vietnam Vet' rather than just the ordinary guy who knocks his wife around. A more mundane wife-beater would have seemed more authentic.But I also agree with Mistinguettes that ideas about female sexuality remain mixed and murky; perhaps difficult to think/talk about.
I need to read through this thread properly!
I thought Shange did a nice job of humanizing Beau Willie and placing his actions in context. As the saying goes, "hurt people, hurt people." Also, given the period of time the piece was written, making him a Vietnam Vet would, for me, be both realistic and relatable.Even now, making Beau crazy just for the sake of being crazy wouldn't work for me. Rather than write him off as just evil or bi-polar, I prefer having something (outside of him) to point to as a reason for his action's--if that makes any sense. :-)
Of course, my opinion may be colored by my own background and experience. My father was a career military man who served in Vietnam as did other relatives and friends of the family. Even though I was a child at the time, I do know that a lot of men came back from that war hooked on drugs and suffering from mental issues. . .
Please continue the discussion, but since January is over, I want to thank Mistinguettes for doing an excellent job in leading what seemed to be a challenging discussion. Remember, you can post anytime - the discussion will remain open.
Lori wrote: "I thought Shange did a nice job of humanizing Beau Willie and placing his actions in context. As the saying goes, "hurt people, hurt people." Also, given the period of time the piece was written, ..."Certainly, Vietnam was topical at the time. And certainly veterans then, as now, came home with mental health problems. My point was that it would have been more challenging for her to address the many very ordinary guys, who without dramatic 'reasons' were beating up their wives and girlfriends. It's not only 'hurt' people who hurt people.
My own recollection was of domestic violence being a cultural norm. There was a calypso that said Black up she eye and bruise up she knee,
And she will love you eternally.
I suspect that attitude persists in some cultures.
Lori, you don't really equate bipolar affective disorder with evil, do you?
Hazel, as much as I appreciate your perspective, I think there are ALWAYS reasons why people do the things they do. Sometimes, as you suggested, those reasons have a cultural connection—they are learned behaviors that have risen to a level of acceptability by some.Beau Willie’s actions were inexcusable and reprehensible. However, his being a war vet allowed me to see him as something other than simply an evil man or a villain. Even if he was mentally unstable before he left for ‘Nam, he was obviously crazier when he returned.
No, I don’t think being evil and having a bi-polar condition (or any other mental illness) are synonymous in any way, shape or form, which is why I used “or” rather than “and” in my statement. However, my sincere apologies if the statement was unclear and read as such. :-)
This has been an interesting, if quiet, discussion, given that it arose from the lively discussion of the Tyler Perry adaptation of this book. So many people were upset and certain that he couldn't do the text justice. However, Perry noticed the dated nature of the material too, and tried to give these classic conversations a contemporary setting. Re-reading showed me that much of my disappointment about the movie was that it could never capture the moment in history that gave this play such powerful meaning. Still, given that we are now at war (and are losing an equal number of soldiers to suicide as we are to combat) I was surprised that Perry was not courageous enough to make Beau Willie a combat vet. Like Shange's Viet Nam vet, a contemporary veteran whose thinking and sense of threat was disordered by brain trauma and PTSD would have been quite believable.
I think that Perry tried to avoid the political commentary embedded in the Beau Willie poem -- that men learn violence in war and bring it home. He avoided the political implications of the rest of the text as well: Who today would be an imaginary hero like Toussaint? What about today's political narrative required Sechita to become a heartless, promiscuous sexual abuse survivor, instead of a Afrocentric woman in charge of her own sexuality? I think these ideas and silences remain current, even when the setting of for colored girls does not.
Thanks so much to everyone who showed up for the conversation!
Thanks from me too, Mistinguettes. Your questions deserve more thought and consideration. I wonder how Shange would have updated the material, if she'd been able. I also wonder which contemporary US works are addressing these issues. Anybody have recommendations?
Poet, performance artist, playwright, and novelist Ntozake Shange was born Paulette Williams on October 18, 1948, in Trenton, New Jersey. She earned a B.A. from Barnard College and an M.A. from UCLA. Her books of poetry include Ridin' the Moon in Texas: Word Paintings (St. Martin's Press, 1987), From Okra to Greens (1984), A Daughter's Geography (1983), Nappy Edges (1978), Natural Disasters and Other Festive Occasions (1977), and Melissa & Smith (1976). Among her plays are Daddy Says (1989); Spell #7 (1985); From Okra to Greens/A Different Kinda Love Story (1983); A Photograph: Lovers-in-Motion (1981), and for colored girls who have considered suicide/when the rainbow is enuf (1977), which received Tony, Grammy, and Emmy Award nominations. She is also the author of the prose works If I Can Cook You Know God Can (1998), See No Evil: Prefaces, Essays & Accounts, 1976-1983 (1984), Sassafrass, Cypress & Indigo: A Novel (1982), and The Black Book (1986, with Robert Mapplethorpe). Among her numerous honors are fellowships from the Guggenheim Foundation and the Lila Wallace-Reader's Digest Fund, and a Pushcart Prize. Ntozake Shange lives in Philadelphia.
It should be a great discussion!