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By Ashawnti Sakina Ford - June 4, 2020

I co-founded the Black Ensemble Players with my dear friend, Antonio Duke, with the mission of putting Black bodies on stages to tell classical stories. It was vital to foster all-black creative environments that dismantle white supremacist practices in the theater. This need came from the constant stories heard by BIPOC (Black/Indegenous/People of Color) artists working with white majority theatres; stories that consisted of moments where these artists were disrespected, disregarded and diminished by language, practices, and standards that upheld the status quo. I’ve come to realize that while many White led theatres are working towards ways they can be diverse and inclusive, their efforts do not actively dismantle oppressive practices in the theatre. It will take a lot to get there, as many “professional” practices can blur with what can be considered “oppressive” practices. I believe the journey toward dismantling these practices begins with naming it; clearly stating that you are working towards equity, diversity and inclusion as well as dismantling white supremacy and systems of oppression.

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