| Q |
Briefly describe your background/training. |
| A |
 I'm the Founding Producer of The Saartjie Project, a two year old ensemble theatre company exploring race, gender and power through the voices and bodies of black women. I am a cultural creative — producer, playwright and performance artist — not formally trained in theater, but mentored by some one the most amazing artists in the area. I am formally trained in Organization Development (MS, American University) and I consult arts organizations on capacity building and development. |
| Q |
How old were you when you knew you wanted to be an artist? |
| A |
I vaguely remember narrating the Christmas play for my kindergarten class. I knew I was on to something then. |
| Q |
Who is your greatest professional inspiration and why? |
| A |
There are lots...and "greatest" is such a big word. As a artist/activist/creative spirit I find that my heroes and sheroes intersect at many different disciplines. Rha Goddess is amazing. I am inspired by her multifactedness — performance artist, activist and social entrepreneur using her artistic talents to heal, transform, and inspire. She is also a hip-hop baby also not formally trained but recognized worldwide for her amazing work. (Shout out to a few of my other "greats" Jennifer Nelson, Urban Bush Women, Sweet Honey in the Rock, Augusto Boal...) |
| Q |
How do you manage wearing different 'hats' as a self-producing artist? What are your strengths? What are your weaknesses? |
| A |
Great question. I decided a long ago (that sounds like a Whitney Houston song...) but seriously, I understood early on that self-producing meant we (the artists) were responsible for virtually everything...not just the art onstage. Knowing is half the battle. I am great at community engagement and outreach. I am not so great at asking for help but I'm working on it (did I really just out myself like that?). |
| Q |
As a self-producing artist, what qualities make for a good show idea in your opinion, and what is typically your first step in realizing your artistic vision? |
| A |
A good show idea has to be multisensory, ask questions of the audience, provoke a response, lead to other show ideas. |
| Q |
How much material do you prepare for a show, and what percentage of it typically makes it into the final performance? |
| A |
The Saartjie Project (the company that wrote and stars in Deconstructing the Myth of the Booty is an ensemble theatre company creating material together. We literally have a "bank" of material that are consistently depositing. We've work shopped a lot of it and some pieces are on the shelf for further development. I would say, 60% of our work has made it into the last installation of Deconstructing the Myth of the Booty. |
| Q |
Speaking as a spectator, what do you look for in performance? |
| A |
I look for the experience to begin as soon as I step into the door. What does the place smell like? Is it warm? Music? That tells me how I should feel. During the performance I am always looking for a way to connect with performers. Do I like this character? Who does he/she remind me of? I also LOVE talkbacks with the cast. It's great to learn about their journeys. |
| Q |
What makes your work unique? |
| A |
The fact that it is living, breathing. Particularly with The Saartjie Project every performance has something unique in it. We co-create with our audience and blur the lines between actor and spectator. |
| Q |
What does 'success' mean to you? |
| A |
Unapologetically speaking my truth and finding commonality and community there. |
| Q |
Why are you doing the Capital Fringe Festival? |
| A |
The Capital Fringe Festival has been a conduit for The Saartjie Project into the theatre world in DC. Being an ensemble theatre company/artist collective/creative tribe it's hard to put us in a box, which we love...and Fringe seems to love that too! |
