Written and performed by d’bi.young anitafrika, assistant directed by Charmaine Headley and choreographed by BaKari I. Lindsay, with music direction by tuku, and live vocals/music by tuku and Amina Alfred, Esu Crossing the Middle Passage is Part One of The Orisha Trilogy – an epic work examining activism, divinity and the Black diaspora.
Utilizing mask, movement, song, spoken word, storytelling and verbatim theatre – the space transformed into the belly of a ship (Rachel Forbes, set designer), Esu Crossing the Middle Passage takes the audience along on the journey of an African womxn* captured and sold in the Transatlantic slave trade. But she is not alone on that terrifying crossing. The spirit of Esu (pronounced “eh-shoo”), the trickster god of Ifa and keeper of the crossroads, dwells within her.
Emerging from the horror, tears and death of that ocean crossing – not to mention ongoing mourning for family and home lost and never to be seen again – the stolen Black lives that survive are sold on the auction block in America. While Esu Crossing the Middle Passage is the portion of the trilogy that focuses on the past, it draws parallels to the present-day systemic oppression and discrimination; a system that includes classism, racial profiling/carding, poverty, chauvinism and homophobia. We are reminded of modern-day slavery of the unfair practices seen in domestic help and farm work, precarious work and work that doesn’t pay a living wage.
The vocalizations create a soundscape that evokes not only geography but emotion; it resonates as a mournful lullaby, a story, a people. And the voice-over is the true story as told by Olunike Adeliyi (who will be appearing in the final installment of The Orisha Trilogy) – how she was detained and strip-searched during a border crossing, based on an accusation from a woman she didn’t even know. From the fear and humiliation of the slave ship to that in the airport, the play is a stark reminder that – even in 2016 – passage and policing are still dictated by skin colour, and those with brown or black skin are judged by a different set of rules. It also highlights the multiple layers of privilege (based on skin colour, gender, country of origin, class, sexuality, etc.) that some enjoy and others do not – and why movements like #BlackLivesMatter are so critical and, sadly, necessary.
For me, the most poignant scene was of a little girl asking her granny questions, and how as her questions grow out from her own little world into the world at large, she discovers some harsh truths – and her happy, care-free innocence turns saddened and anxious. And yet, even out of this scene, there is hope in recalling that spark of divinity within – the divinity that ancestors brought with them across the ocean when it was all they had left. It left me in tears – equal parts sadness and optimism.
The relaxed, informal talkback that followed offered an opportunity for further discovery and closure – done in a space of respect, love, and a desire to share and learn. Audience members shared personal experiences, asked questions, offered comments. We learned that Esu has been demonized in some parts of the world and seen as the devil – part of a colonizing, systemic move to erase indigenous spirituality out of a people, stripping away culture and religion to replace it with European values and Christianity. This play comes with a trigger warning – and the production has a counsellor available on-site for those who need to speak with someone.
A powerful, deeply moving and bold investigation into the origins and echoes of the Black diaspora, Esu Crossing the Middle Passage pays respect to a painful past, with a glint of hope for the future. Esu tells those at the crossroads to choose carefully – and that goes for all of us.
With shouts to the design team: Rachel Forbes (set), Melissa Joakim (lighting), Waleed Abdulhamid (sound) and Holly Lloyd (costume) for their beautiful, evocative work on this production; and to the extra multitasking stage manager Kathleen Jones and assistant SM Sa/ShOYA Simpson.
Esu Crossing the Middle Passage continues at the Storefront Theatre until April 17; advance tickets are available online. Do yourselves a solid and go see this.
Part Two of The Orisha Trilogy: She, Mami Wata & the Pussy Witch Hunt runs May 4-22 at Theatre Passe Muraille; Part Three Bleeders will run Aug 4-14 (venue tba).
* This spelling of “woman” is the choice of the playwright.