THE JUNETEENTH STORY - And Why It Matters

Black History Month is drawing to a close, and again, I wonder why this integral component of the American story isn't a more substantial part of the discussion year-round. Imagine for a moment a world without the African American influence on music, sports, dance, entertainment, and fashion. Though it may be arguable that the Black contributions to our popular culture are readily apparent, thousands of other important facts have been left out of the textbooks for years. For example, most people know that Thomas Edison invented the lightbulb, but how many people know that a black man, Lewis Latimer, invented the filament for the light bulb?

That mental image of shining a light brings me to THE JUNETEENTH STORY, an ambitious musical journey that tells the 400 year-old story of Africans in America. I hope this show will not only be brought back next year, but that it will also be made available to more children--either through tours or performances by other theater companies. across the U.S.. Programs of this type matter, not merely for arts enrichment, but because every generation needs roots and direction.

In the the wise words of John Henric Clarke, "History is a compass that people use to find themselves on the map of human geography. History tells a people where they have been and what they have been, where they are and what they are. Most important, history tells a people where they still must go, what they still must be." In order to stabilize and inspire the up-and-coming generation, and promote inter-racial understanding, the story of Africans in America--not only their trials and tribulations--but also their innumerable contributions to the world, must be told.This program is a good place to start. THE JUNETEENTH STORY showcased some of our finest local talent in multiple roles. This journey through time and geography, bookended by a modern day Juneteenth Day barbecue took us from Jamestown Harbor in 1619, through the twentieth century. This delightful mashup of history pageant and Schoolhouse Rock played at The Cannon Center in Memphis. Busloads of children, many of whom may have never seen a live stage production before, let alone one of this caliber, were brought in.

Co-written and produced by by Larry G. Batchlor and Levi Frazier, Jr., (who also wrote the historical one-man show FOR OUR FREEDOM AND YOURS, and directed Jackie Murray, a versatile singer actress who is well-known in Memphis for her highly-acclaimed one-woman performance as Harriet Tubman. Thanks to Murray and her exuberant cast, this show had a lot of heart.

Though designed primarily for children, its well-researched content and artistic merit made it great entertainment for adults. Told through music, dance and narrative, and sweetened by the famous voices of Al and Kennedy Paris, the experience was both visceral and cerebral.

The slave auction was so convincingly acted (even in its G-rated version) that I found it disturbing. The Congo and the the passage in chains (not easy to stage efficiently) were brilliantly choreographed, and I defy anyone who has seen this show to ever think of the hymn Amazing Grace in the quite same way again. There was also a lighthearted treat at the end which I'm not going to reveal. (It was so timely that it may or may not be part of subsequent performances.)

In a world where arts programs are being cut in the schools, teachers are being pressured to gear lesson plans toward standardized tests, and textbook content and curriculum is an ongoing source of contention, THE JUNETEENTH STORY truly matters. I'm hoping what I saw marks the debut of a longstanding and widespread annual tradition.

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