'da Kink in my hair

The top and bottom margins of the cover are black. Between them is an image with a brown background: at its top in decorative type set on an arching line reads "'Da Kink in My Hair." with the subtite "voices of black womyn" in much smaller type directly below. Below that is a simple, stylized figure of a woman. Her breasts and hair dominate the image, hair orange and yellow and standing on end all around her head. Over the bottom margin reads "trey anthony" in yellow.

‘da Kink in my hair

‘da Kink in my hair

trey anthony

Playwrights Canada Press
Toronto • Canada

‘da Kink in my hair © Copyright 2001 trey anthony.

No part of this book may be reproduced, downloaded, or used in any form or by any means without the prior written permission of the publisher, except for excerpts in a review or by a licence from Access Copyright, www.accesscopyright.ca.

For amateur or professional production rights, please contact:
trey anthony productions inc., 416.537.8064

LIBRARY AND ARCHIVES CANADA CATALOGUING IN PUBLICATION

anthony, trey

‘da kink in my hair / trey anthony.

A play.

ISBN 978-0-88754-756-0

1. Women, Black--West Indies--Drama. I. Title. II. Title: Kink in my hair.

Playwrights Canada Press acknowledges that we operate on land which, for thousands of years, has been the traditional territories of the Mississaugas of the New Credit, the Huron-Wendat, the Anishinaabe, Métis, and the Haudenosaunee peoples. Today, this meeting place is still home to many Indigenous people from across Turtle Island and we are grateful to have the opportunity to work and play here.

We acknowledge the financial support of the Canada Council for the Arts—which last year invested $153 million to bring the arts to Canadians throughout the country—the Ontario Arts Council (OAC), Ontario Creates, and the Government of Canada for our publishing activities.

Dedication

‘da Kink is dedicated to beautiful janet…
for allowing me to always remain rooted in my truth.
Loving fiercely without conditions.

Also to my mother, grandmother, Reneé and Darren and Dad.

And to every little Black girl who has ever dreamed bigger than her circumstances.

Acknowledgements

To janet for proof-reading, inspiration, belief and love.

My family for always giving me something to write about….

Dee and V, Jean and Rachael for true friendship and helping me deal with the shit, when it is too difficult to write it down.

Thank you to Weyni Mengesha for directing the play, and bringing words from paper to life. You are an extremely talented womyn!

A special thanks to the Kink family for being patient with the process. For believing in the work when all we had was hope.

Djanet Sears for being an inspiration and role model.

To all the community radio stations, colleges, universities and media who have supported my work.

Much love to Layne Coleman and all the staff at Theatre Passe Muraille for showing us what the show could be with a budget.

Angela Rebeiro for publishing the play and being extremely patient with me.

Contents

Foreword by Djanet Sears

History

Playwright’s Notes

First Production

Mirvish Production

‘da Kink in my hair

Playwright’s Bio

Foreword

‘da Kink in my hair is a remarkable illustration of story as a nutrition for the soul. This first major play by trey anthony shows her to be one of the most gifted and vibrant writers for the stage to come along in many years. Ingeniously, trey has not only created an incredible ensemble Black women’s voices, but her powerful use of the personal narrative stylistically links her work to an African oral tradition that has survived and still thrives in the African Diaspora in spite of a separation of four centuries and a vast ocean. Moreover, her choice to set the entire piece in a Caribbean Canadian hairdressing salon has enormous resonance for Black women. For no other racial or cultural group is a hair style also a personal and political statement which reflects the beliefs, the history, the aspirations, the pain, the jubilation and the contradictions of many Black women’s lives.

The business of Black hair is almost a $500-million-dollar industry in the United States. Here in Toronto, all one has to do is pick up a Share Magazine, a Pride Newspaper or one of any number of African Canadian or Caribbean Canadian weeklies to see that the overwhelming number of advertisements in these publications come from hairdressing salons and barbers to deduce that a relatively similar proportion of Black Torontonians spend their hard earned dollars in the same fashion. Still, what this phenomenon does not entirely reveal is the significance of Black hair salons to Black women on a psychological level.

Many of us growing up Black and female can relate harrowing tales of being told we have either “bad hair” (read more African), or “good hair” (read more European). To straighten or to ‘fro? That is most often the question. One choice sometimes connoting an aspiration towards European values of beauty, the other possibly either a reaction against it, or an embracing of ones own African-ness. This ultimately raises the questions, when is a hair style just a hair style? or is a hair style really always a statement? In attempting to untangle the roots of our obsession with hair, one might begin to see hair as a metaphor for not only our history, but for our present-day psyches. This is what makes a Black hairdressing salon more than a beautician’s parlour. For while a Black hairstylist might be able to do everything from shape and trim your ‘fro, braid (with or without extensions), cornrow, corkscrew, press (with a hot comb) and/or chemically straighten your tightly coiled tresses. For a majority of women in the Black community, the hairdresser is the closest thing to a head doctor we ever (voluntarily) encounter. She/he will not only twist your dreadlocks, weave very expensive Korean women’s hair into your head, colour your jet black, off-black, dark brown, auburn, copper, tawny or Beyonce blond hair, but she/he will also listen, with the attention of a first-rate therapist, to your countless joys and all of your woes. Now the fact that everyone else in the salon can hear every sordid detail of your story is not usually a call to silence, for all have come to see the head doctor and they too shall soon have their turn to work through the kinks.

This is what anthony achieves with the play. She gives voice to the “kink”, the coil, the loop, the twist, the flaw, the painful contraction, the frizz, the sharp bend produced when a loop in a line is pulled way too tight, the fit of laughter (for ‘da KinK in my hair is as incredibly funny, as it is moving). In presenting a hairdressing salon as a place of transformation, ‘da KinK in my hair requires that we let the stories wash over us; detangling the knots of denial and confusion; locking the multiple curls and twists of our identities in an act of self acceptance.

In the same way that we never leave a hair stylist’s lair the same way we enter it, the characters in this breathtaking story are not merely attempting to get things straight within themselves, they are, in the words sentiment of the great Marcus Garvey, not endeavouring to remove the kinks from their hair; they are attempting to remove the kinks from their minds.

Djanet Sears

Playwright/Adjunct Professor
University College, University of Toronto

December, 2004

The history of ‘da Kink

‘da Kink in my hair was originally conceptualised as a one womyn show. Playwright and comedian trey anthony had just recently ended a seven-year relationship, and turned to her computer for consolation. She wanted to write a play that would focus on the lives of black womyn and authentically reflect the joy, hardship, and struggles of a Black womyn’s lives. She wanted to incorporate her own personal story and also stories and “gossip” that she heard to make ‘da Kink believable. Seven months later the first rough draft of ‘da Kink was born.

trey invited six of her “closest friends,” (who just happen to be the best female actors in Toronto) over for an informal reading and to get feedback about the pieces that she had written. The feedback was amazing! Her friends convinced trey that the monologues needed to be heard. trey had a feeling that she might be on to something but still was a bit skeptical. She decided to hold a public reading of ‘da Kink in a small downtown coffee lounge and send out a public invite via email. She wanted to hear what the monologues would sound like aloud and get some objective feedback. The reading was a sold-out hit, and trey extended it for one more night which also immediately sold-out!

trey gave out audience surveys and the response was very positive. People really loved the pieces but some people commented that the pieces were very dark, emotional, and heavy. trey went back to her computer to think how was it possible to add humour to such serious topics as incest, homophobia, police brutality, etc. That’s when her comedic experience “kicked in” and trey developed the comedic outrageous character, Novelette, who would bring all the serious pieces together, yet add humor to the play. trey immediately abandoned the idea of making ‘da Kink a one womyn’s show and invited her friends along for a kinky journey. ‘da Kink in my hair had been reborn…

‘da Kink in my hair made it’s first full-length dramatic debut at the Toronto Fringe Festival in July 2001. The play was produced by Plaitform Entertainment which was trey’s production and entertainment company. The “buzz” was already on the street that this was the show to see! The show sold-out every night, with people lining up for hours ahead of the show to get tickets! Disappointed people were turned away nightly! The show was hailed by the Toronto Sun as the “Pick of the fringe!” The show also received a Critic’s pick by Now Magazine and was also selected as best cast ensemble. The show also boasted the highest ticket sales of all the shows in the Toronto Fringe Festival!

Due to the success of the Fringe, trey was asked by the Harbourfront Centre to remount the show again for its Black History, Kuumba Festival. All four shows sold out weeks ahead of the scheduled performances and the show received standing ovations every night.

In June of 2003 ‘da Kink was remounted at Theatre Passe Muraille. Again the show was a sold-out success, receiving standing ovations every night. The play received the highest box office sales in Theatre Passe Muraille’s history!

‘da Kink was selected by Mirvish Productions, Canada’s largest independent theatre producer of plays such as The Lion King, Hairspray and Mamma Mia!, for a six-week week run which began in January 2005, and which was extended several times, eventually closing at the end of April 2005. It was also the first Canadian play to be produced at the Princess of Wales Theatre.

Playwright’s Notes

When I dare to be powerful, to use my strength in the service of my vision, then it becomes less and less important whether I am afraid.

– Audre Lorde, Sister Outsider

Writing ‘da Kink in my hair, saved my life. Each one of the characters has some small part of me and my life embedded in their Voice. They became my Voice when I was too afraid too speak, too afraid to act, too afraid to question, too afraid to be loved, give love or demand to be treated gently, kindly, and with respect. The first draft of ‘da Kink was written four years ago, and I am thankful that I am now at a different place in my life. Yet these womyn’s Voices are always present within me. I have sat, dined, cried and laughed with these characters for many years. My writing has been my peace of mind, my own act of defiance to change the world in some small but significant way. I am braver in my writing; I am bold. Fierce. Demanding. Uncompromising. Uncensored. Writing allows me for a minute to stop the fears that continue to plague me in my daily life. The constant fears of not being good enough, worth enough, deserving enough.… Before writing ‘da Kink I used to live with my fears in solitude and I now realise that many people live their lives in a constant state of fear. That fear is usually fed, nurtured, expected and accepted. Usually when one tries to arise from fear, to be bold, honest, truer to self, many will discourage that. For myself it is a constant battle to live my life without fear and to be less afraid. There are times that my fear paralyses and silences me. Times when I look fear in the eye and laugh until my stomach aches. Times that I have hidden myself, feelings and thoughts because it is easier. Times that I have lied to myself and others because the truth would be much more difficult. Times when I cry until I am sure there could not possibly be any tears left. Yet there are many times when I am bold and truthful. And I know I have no other choice but to continue and trust that I must do this… Continue to write, question, and speak loudly. Be able to live my life with truth, honesty and without fear. I used to think that somehow I would reach a final fearless and peaceful destination and I could remain there. Somehow I would eventually be at a place and know this is “It”. I am finally here! Yet I now realise this is a continued journey and everyday I am challenged to try and be the best person that I can be. I must remain committed to being less afraid. Committed to standing in my truth. Be committed to be rooted in my truth.

Blessings
trey

First Production

‘da Kink in my hair was first produced by Plaitform Entertainment in association with Theatre Passe Muraille June 2003:

Percussion/Vocals by Amina Alfred

dub poem uncle john written by d’bi.young

Directed by Weyni Mengesha

Set Design & Props by janet romero

Lighting Design by Rebecca Picharack

Costume Design by Caffery VanHorn

Musical Directions & Arrangement by Alejandra Nunez

Movement Design by Ma’at Zachary & Roger C. Jeffrey

Movement Transition & Music Written by Weyni Mengesha

Stage Managed by Trina Sookhai

‘da kink in my hair was presented by Mirvish Productions at The Princess of Wales Theatre, January 11 to February 27, 2005 and extended four times until it eventually closed on April 24, 2005.

Directed by Weyni Mengesha

Dub Poem “in honour of belief” by d’bi.young

Act One Opening Scene

Stage dimly lit, a hairdressing shop. Alone on the stage is a hairdressing chair, at the edge of the stage is a tight coil, representing the hair. The Griot enters, she then calls the Goddess who enters proudly she blesses the stage. The Griot then calls the dancers/community who enter. They dance, this is a celebratory dance. Suddenly there is an urgent beat on the drum and the dancers stop. They reach for the coil which is sitting at the edge of the stage, which is abruptly pulled apart, and a frightful sound escape occurs as the dancers stop and they reenact the sizzling, frying, pain, agony and torture that black hair is subjected too. The drums beat faster and angry. It becomes a desperate frenzy of cries and moans and then there is a final beat of the drum and women take the afro pics and place them on the edge of the stage. Black out.

NOVELETTE enters.

Salon: Lights up on NOVELETTE, who sits in the hairdressing chair putting on her makeup. All the other women are frozen in tableau.

NOVELETTE:

(addresses the audience) My work is never done! I’m always working, working, working. You want me to talk to you, explain what’s going on in this play well forget it! Pick up a program and read it or something because I have no time to talk to you today! I’m a busy busy career woman. No time for myself. Isn’t that true Miss Lizzy. (She addresses the plant.) Oh I need to water you. Can’t forget about you. Don’t worry Miss Lizzy. I’ll get you your water soon. I have so much things to do… It never stops. (She grabs the broom and begins sweeping.) I’m telling you between doing my makeup, sweeping, and of course doing hair, the work never stops! Being a hairdresser is not an easy thing. (She walks over to the women frozen in tableau.) people rushing in here talking about oh Novelette, I want this style, this cut, this washed, this coloured, don’t they see I’m busy—