Jewish people say that in order to assure that a whole community is never again destroyed as almost happened during the Holocaust, the story of the tragedy must be told over and over to the world and into future generations. The dictum goes, “We must never forget”. And yet a mere 50 years later, the American city of New Orleans which recently galvanized the country with horrific images of a near apocalypse, is teetotaling on survival due to a waning federal attention span and commitment to rebuilding our community.
We are now 31 months away from the day Hurricane Katrina crashed into the Gulf Coast and broke the faulty government-constructed levees in New Orleans. As many as 1,500 people died, hundreds of thousands of people evacuated the land, there are still tens of thousands who have not returned, and at least 300,000 homes were destroyed. For the past 2 ½ years now, New Orleanians have gone about the formidable tasks of rebuilding every aspect of their lives against the backdrop of blocks upon city blocks of empty house shells displaying spray-painted tattoos detailing number of found bodies or which ones could not be checked because they were ‘TFW’ (Totally Full of Water), visual scars to remind us of our community’s near demise.
And although it appears at times that the rest of the country’s attention has moved on, there is at least one local collective working to tell our story and to ensure that we, this country, and the world never forgets what happened in New Orleans.
A group of 16 local artists, partnering with the Ashé Cultural Arts Center of New Orleans and Eve Ensler, playwright, director, and author of ‘The Vagina Monologues’, have produced an original theater piece entitled, ‘Swimming Upstream’, to ensure there is an artistic record of the experiences of New Orleanians post Hurricane Katrina. ‘Swimming Upstream’ will premiere on the floor of the Superdome during SUPERLOVE, part of “V TO THE TENTH,” V-Day’s 10th Anniversary, to be held in New Orleans April 11-12, 2008. The piece is being produced by Ashé and V-Day and plans are in place to take the show on a national tour, targeting cities in particular where displaced New Orleanians have settled.
For over a year now, these actors and writers have met monthly at the Ashé Center with Ms. Ensler to develop their monologues. A unique feature of this play is that the stories are all told solely by women, their voices, their perspectives. It is the women who give birth to the story of our community’s life, death and resurrection, another shadowy symmetry to Jewish history and tradition in which the lineage is passed through the mother because, as the old saying goes, “you always know who your mamma is.”
Karel Sloane-Boekbinder, stage manager for ‘Swimming Upstream’, described how the gender-specific process of play’s development came to be, explaining that sixteen women already associated with Ashe, ranging in age from 19 to 80, wrote the play which came out of workshops, story sharing, and interviews with people who were not part of collective. “The piece focuses on how women here took survival into own hands - before, during and after the storm. Whatever happened to the family, whether they evacuated or stayed, it was because the matriarch made it happen. There are no male actors on stage. But males are discussed in the context of the story.” Sloane-Boekbinder adds that while men weren’t purposely excluded, it was liberating to have an all-female process. “People were able to share their experiences and be heard, to grieve, celebrate, be vulnerable…It was an opportunity to share the losses of people, places and things.”
In many cases, it was first time the women had spoken aloud about losing family members or neighbors. Sloane-Boekbinder, who along with Ensler, took notes during the workshops, which she describes as “very emotional and intense. What I took with me” is a big theme,” she recalled. “Everyone has a list of the things they took with them when they evacuated.” She also noted that cast members are not performing their own personal story because of the emotional nature of the work, and to protect their privacy and the privacy of their family and friends.
According to Carol Bebelle, director of Ashe Cultural Center and ‘Swimming Upstream’ co-producer, the initial idea for the piece came from ‘The Vagina Monologues’ playwright Eve Ensler who was in New Orleans some months after the storm doing humanitarian work with a church in the lower Ninth Ward. Ensler approached Bebelle with the idea of doing a piece and the possibility that they partner with Ashe to produce it. Bebelle said, “I told her that it’s a great idea but I think it’s better to use local talent here.”
The end result for the premier piece is a mix of local and celebrity talent. Kenny Leon, a highly acclaimed director, producer and actor who is dedicated to preserving and refreshing the African American classics, is directing ‘Swimming Upstream’. The readings will be performed by film actress Kerry Washington, two as-of-yet unannounced celebrity actors, and four local actors. The play also includes original music by local artist Troi Bechet.
“We needed to have our own writers, performers and cultural bearers talking about the catastrophe,” said Bebelle. Writing work about anger, sadness, prayer, relationship with God, and life lessons were developed into poems, short stories, songs…all about strong women swimming upstream… Women in New Orleans have been finding the will and creativity to tell the children that adults are still in charge; to not need our men more than they can be needed so they can deliver on what they can do; to be the counselors for everyone, often at the expense of ourselves… We are swimming upstream against the currents, against questions about whether we have a right to come home, to rebuild, the have the right to redefine our community. We are all swimming against current notions, against these questions, these ideas about democracy. Swimming upstream becomes metaphor for all that.”
It can also be said that New Orleanians are swimming upstream against the negative image of being a people with misplaced priorities, prone to irresponsible, bacchanalian partying in the face of a desperate and tragic circumstances and perhaps not worth investing in. Eve Ensler, while in New Orleans recently for the V-Day press conference, reconstituted the newcomer’s analysis of the way locals respond to this environment with the following observations:
“One of the things I did notice about New Orleans right away is that people live with incredible insecurity and acceptance of insecurity. When I was talking to people down here…they were taking about the fact, each person had an emergency measure for how to escape from their house. Everyone just talked about it very casually like, ‘I’ve got my gear…I’ve got my flashlight…I’ve got my battery…I’ve got my water.’ But it wasn’t with panic, it wasn’t with alarm. It’s just like ‘what we do…’ And it makes people here more friendly, it seems to me, more caring, more community-based because they’re not trying to save up for their personal protection and security. They get that there is none. So they’re just in the party, in the streets…they’re in the world.”
(See Eve Ensler interview and the V-10th Second Line parade here in New Orleans:
http://videos.nola.com/times-picayune/2008/03/eve_ensler_in_new_orleans.html)
With regards to the perception of this recovering city’s complicated culture and personality, Sloane-Boekbinder remarks, “Resilience is a hallmark of this region. We’ve always found a way to rebuild and celebrate at the same time. To outsiders, we may seem frivolous. But we know how to make life out of death. Because we’ve done it before…fires and floods, resurrection over and over again.” Adds Bebelle, “We (in New Orleans) do a good job of making a ritual…to process that which you have no control of. We’ve lost ability to predict what’s going to happen here. We’re vulnerable now. Understanding that gives us power to know what we’ll do now, in the moment…And there’s something to be said for making it through. And when your back is against the wall, magic happens. We’ve got to be able to tell these stories too. Swimming Upstream stories tell the balance of it all.”
The partnership between the Ashe collective and Eve Ensler has further reaching implications than just the creation of a sole body of theatrical work. Bebelle hopes that ‘Swimming Upstream’ becomes an ambassador piece for New Orleans much like ‘The Vagina Monologues’ has done for women’s empowerment. The Vagina Monologues’ has grown into a global movement to end violence against women and girls through the annual staging of thousands of benefit productions around the world which raise funds for local groups, shelters, crisis centers working to end violence against women. “(Swimming Upstream) is a play to help keep people hooked to the people and the city and to frame how people choose to look at us”, said Bebelle. “The Vagina Monologues is a model of what can happen. We saw the potential for that long-term affect with this play. Swimming Upstream hopefully can do for New Orleans what Eve and The Vagina Monologues has done for women.”
“Swimming Upstream is how we can help America know that we know what they can do and can’t do for us. And to let them know we need them to walk with us and not leave us behind.”
And to remind them of the story of this tragedy, of a civilization almost obliterated. So that we should never forget.
V TO THE TENTH, V-Day’s Tenth Anniversary featuring ‘Swimming Upstream’
April 11-12, 2008 New Orleans Superdome. For more information, go to http://www.vday.org