Over the next few days or week, I will be sharing parts of my paper that I have recently submitted for an academic theatre pre-conference. The American Theatre and Drama Society (ATDS) will host a two day event in Orlando before the Association for Theatre in Higher Education (ATHE) conference officially begins. This paper was part of my application and if selected, I'll get to do some networking with other scholars interested in American theatre and performance as well as receive feedback from them regarding my ideas. By I figure why wait until then; people of the Internet (who follow our blog or are stumbling across it now), share with me your responses as I unfold my ideas. This first part is my introduction. There are three more parts to come. Enjoy:
In June 2011, I received a text from Brett. It read, “Blackface might not be socially acceptable; but in Manti, brownface is alive and well.” He attached a photograph of a young, white man dressed in some sort of eclectic, Pan-American Indian costume, equipped with a wig of long, black braided hair. He also wore make-up, browning up his skin. Brett sent the text while sitting in the audience of the Mormon Miracle Pageant in Manti, a town in the dead center of Utah. Every year, in a matter of hours on each weekend night at the end of June, the pageant manages to chronicle the foundation of the Church of Jesus Christ of Latter-Day Saints (LDS Church), the contents of the five hundred page Book of Mormon, and the exile of the Mormon pioneers from the United States to the Utah territory. The subject of my friend’s photograph—and ridicule—was a member of the nine hundred person cast. Specifically, he was a Lamanite: a Semitic ancestor of the Native Americans discussed in the Book of Mormon.
The kind face that launched a thousand ideas about what to write about this event.