Wata Nabieu takes the chocolate bar and carefully unwraps the top. She giggles at us watching her and breaks off a piece, giving it a nervous nibble. Then she passes it to her three-year-old daughter, Yema. Wata pulls the gold wrapper back more and bites. She closes her eyes. “Milk… sugar… cocoa?” she murmurs. Her smile widens. She takes a bigger bite. It’s a privilege to watch someone eat chocolate for the first time: a Willy Wonka moment. All the more special because 40-year-old Wata Nabieu has laboured for most of her life in the cocoa plantations of Sierra Leoneso that other people can eat chocolate. What if she didn’t like it?
We are sitting under one of the cocoa trees planted 30 years ago by Wata’s father. Now she works the farm alone, except at harvest time when the neighbours help. Most days she’s out here, chasing monkeys and birds away from the ripening fruit, clearing undergrowth – “In it there can be hidden snakes. Or men”. On the back of Wata’s ragged T-shirt, inherited from an NGO, are the words “Love and development”. Wata finishes off the finger bar of milk chocolate. The gold foil falls to the ground, where it settles beside a many-horned orange-pink orchid, a flower straight from the rainforest in Avatar. The chocolate is made by the Divine Chocolate company which has, since last year, been using Fairtrade Sierra Leonean cocoa – including the beans from Wata’s trees.
What’s the verdict? We ask. “Deya,” says Wata. “It’s fine.” She grins. Yema, meanwhile, is busy licking her fingers having painted her bare tummy with melted chocolate. Not many people in Wata’s village of cocoa and coffee farmers have ever tasted the product of their work – but then there are very few luxuries here in the remote east of a country that consistently comes at the bottom of the United Nations lists of wealth and development. One in six women in Sierra Leone will die in childbirth, and one in four children will not reach the age of five. Wata, like more than half the women her age, cannot read and has never been to school.
Wata and her family have known a lot of death: she has lost her father, her brother and her first husband. They all died during Sierra Leone’s vicious 11-year civil war, which finally came to an end in 2002. All of the country suffered, as rebel militias twice seized control, with a cruel policy of savage retribution against civilians who did not support them. Rape and murder were common, children forced to become soldiers and turned against their own families, and a usual punishment for opposition the amputation of your hands or arms. “Short sleeve, or long sleeve?” asked the militia men as they raised their machetes. When I went to Sierra Leone as a reporter in 2000, the streets of the capital were full of children and adults with missing limbs.
Kenema, the district where Wata and her family live, was particularly dangerous then: it’s here that diamonds, Sierra Leone’s only major source of wealth, are found. Lust for the minerals fuelled the civil war, and the resulting turmoil made Wata and the rest of the village part-time refugees for nearly a decade. “When we ran away from the rebel soldiers, that’s when my husband was killed. Then we all lived by finding wood in the forest and selling it. Sometimes we would sneak back home to harvest the cocoa from our trees. But it was very dangerous.” One of the cocoa farmers, Ibrahim Moseray, told me he had cherished a dream during that terrible time. Before the war, in the early 1990s, Ibrahim worked sometimes for a Scots cocoa buyer who would visit Kenema regularly to negotiate for cocoa beans from the Lebanese traders who bought from the villages. Ibrahim had learnt a lot about the trade, about the profits and the tricks – how the buyers would visit the villages during the dry months, “the hunger season”, and lend the families rice.
When the cocoa crop was ready in January the buyers would reclaim the debt, asking payment of one sack of cocoa beans for one of rice: grotesquely unfair. But the villagers, without communications or education, unaware of the real price of cocoa, were in no position to argue. “And they had to feed their children,” says Ibrahim. Ibrahim’s dream, as the families lived on the run during the war, was simple: “Things were at their worst in 1998. We were all displaced because of the war, the cocoa price had collapsed and the buyers were giving farmers promissory notes, not even money. So we started thinking: after the war we’re going to have to export the cocoa ourselves. “We formed a cocoa group to go to the village with the government soldiers to harvest our trees, and so we started to work together. We called ourselves “Kpeya” which means “Give way” in Mende – we were calling on the world to give way and let us sell our cocoa for ourselves.”
When the war ended, Kpeya made a useful alliance with Africa’s most successful cocoa cooperative, Kuapa Kokoo (Good Cocoa Farmers’ Company) in Ghana. Set up in 1993 and now with 47,000 farmer members, Kuapa is the main source of Fairtrade chocolate, now supplying Cadbury (for Dairy Milk) and Mars (for KitKat). It owns nearly half of Britain’s Divine chocolate company, which had a £12.5m turnover last year – a share of which goes straight back to the farmers. The advice from Kuapa and the NGOs to the Sierra Leonean farmers was plain – they needed to produce better cocoa to attract higher prices. So training was set up for the cocoa farmers of Kpeya by the United Nations Food and Agriculture Organisation. They re-learned their trade in everything from pruning trees and pest control to better fermenting and drying of the cocoa beans. And they were also taught to farm without recourse to any chemicals. Fertilisers and pesticides are not easy to get hold of in rural Sierra Leone, but it means the Kpeya chocolate can be called organic, too.
By last year, Kpeya was ready to achieve the old dream of selling its cocoa direct for export. Its first container – some 12.5 tonnes – of high quality, Fairtrade-certified cocoa went to Europe, to become Divine Chocolate. The 300 farmers received an above the market price for their beans, and put some of the premium into building storage sheds and an office from which to run the cooperative. Divine bought them a pick-up truck. And the effects in villages such as Batiama were immediate: everyone, I was told with pride, now owns a pair of shoes. On the road into Kenema – newly rebuilt with Chinese aid money – there are neat piles of rocks: one source of income for landless rural people is to gather them by hand in the hope someone laying concrete or building a house may need the rubble. Many of the bigger buildings we pass, like the schools or Kenema’s college, are still roofless and derelict eight years after the war.
Kenema is a frontier town. In its shabby, busy streets there are diamond dealers’ shops, casinos and banks with armed guards outside them; in the one hotel large Lebanese men smoke hookahs as they do business with unfriendly white men with leathery skin. Ibrahim Moseray, Kpeya’s elected manager, looks out of place here in his tribal clothes – he is wearing the uniform of hereditary speaker for the chief. But he is full of confidence as we go to see his bank manager. This official, Mr Turay, is friendly and impressed when presented with some Divine chocolate, but firm: he’s not going to offer credit to a bunch of cocoa farmers from the sticks. He needs better assurances of Kpeya’s financial solidity. Ibrahim looks disappointed. He needs cash to complete the cocoa purchases as the harvest time comes to an end. It is hard trying to persuade the 300 farmer-members of Kpeya to resist the Lebanese dealers’ offers (and the hunger pangs) and hold out for the better prices he knows he can offer them, when the advance payment for this year’s harvest turns up.
Building the farmers’ faith in the new organisation is not easy: the old-time traders have every reason to hope Kpeya will fail. One Dutch cocoa-buyer told a meeting he didn’t want high quality cocoa from Sierra Leone – he could make more money out of the poor quality stuff. And it seems that sometimes everything from officialdom to the local thieves who stole the sink from the new office the other day are lining up against Kpeya. “Everyone’s trying to squeeze us, put us out of business,” says Ibrahim, grinning. “The buyers are against us because they know we’re pushing prices up, and educating the farmers. But our farmers our saying no to them: ‘We’re with Kpeya till we die’. We bought them all mobile phones, so they could tell us what was going on, and if they were being misinformed about the prices, we could tell them the truth.” Ibrahim delights in the battle – he says that Kpeya’s next move this harvest season will be to put up the price of a pound of dried beans by 50 leones (about 1p). This will force all the traders to pay more to all the farmers in the region. Already the price of cocoa to the farmers is, at 55p a pound, a third higher than it was last season.
Back in the village Momoh Sellu, the chairman of Kpeya Agricultural Enterprise, tells me about a man who came to the village when he was a child. “I think he was the district officer, one of the Englishmen. They were good men, they built schools and they built roads. He came here in 1933, to the village, and told my father that he ought to plant cocoa. He taught him how to do it and how to look after the plants. He said that we could eat the fruit now, but one day it would make us money. And it was good advice.” Since the Kpeya cooperative was formed the village has been working together much more, Sellu says. The 455 people of Batiama now help each other harvest and dry the beans. The Kpeya committee decided to pay for Wata Nabieu to take her blind son to Freetown, the capital, so he could have an operation that restored his sight. There was a village raffle: the winners getting cash to put shiny zinc sheets on their houses in place of the palm thatch roofs. And with some of the extra cash from the Fairtrade price they have hired a primary teacher. Before the children had to walk three miles to school. “It’s good to be a cocoa farmer – you are respected,” says Sellu happily. “Cocoa farmers usually are very notable in society – they have two or three wives.” Mrs Sellu, Mamie, who is listening, tells me he is useless and too old: but she agrees that the cooperative has been a good thing. “Before when the buyer came he would deduct money as interest on our loans. I’m not educated, and I could not even understand. Now the co-op gives us free loans, if we need them.”
Mamie Sellu is 80, she thinks. She has seen terrible times – two of her children were killed in the war, and she has seen many “hungry seasons” in the annual dry months. She says she isn’t worried now for herself, but for her eight surviving children and 15 grandchildren. Their food and their education depend on an assured price for cocoa. “I don’t want to die and leave my children poor – I’m sending them to school so they can take care of themselves. If they have no way of getting money, my soul will not rest in peace.” Before we leave we watch the effects of a lot of chocolate on children not used to it: the biggest mass sugar high I’ve ever been a party to. The games get wilder, and we end with a huge tournament of grandmother’s footsteps. The giggling, squealing children tumble over each other while the adults smile and gossip. War and famine seem far away. Could those times come again? I ask Ibrahim Moseray. “Everybody smelled the war, everyone felt it,” he says. “They know now what war means. They know we can’t go back.”
article via guardian.co.uk/
Good Black News
TNT has written a prescription for a third season of the powerful medical drama HAWTHORNE, starring and executive-produced by Jada Pinkett Smith (Collateral, The Matrix trilogy). TNT has ordered 10 new episodes of the hit series, which is slated to return in 2011. Created by Emmy® winner John Masius (St. Elsewhere, Providence, Dead Like Me), HAWTHORNE premiered in summer 2009 and ranked as one of ad-supported cable’s Top 5 new series of the year. In its second season in summer 2010, the series continued its success, averaging 3.7 million viewers and ranking as ad-supported cable’s #1 Tuesday program among women 25-54.
“With its memorable characters, powerful performances and moving storylines, HAWTHORNE takes us on a dramatic journey through the world of a hospital on the brink of collapse,” said Michael Wright, executive vice president and head of programming for TNT, TBS and Turner Classic Movies (TCM). “This series has performed extremely well among our key demos and proven itself to be a great summer series. We are very excited to continue working with Jada and HAWTHORNE’s outstanding production team and cast.”
HAWTHORNE stars Pinkett Smith as Christina Hawthorne, an impassioned Chief Nursing Officer struggling to whip a failing hospital – and her personal life – into shape. Michael Vartan (Alias) co-stars as Dr. Tom Wakefield, who has a complicated personal relationship with Christina. The series also stars Suleka Mathew (Men in Trees), David Julian Hirsh (Lovebites), Christina Moore (90210), Vanessa Lengies (American Dreams) and Hannah Hodson (The Ron Clark Story).
HAWTHORNE comes to TNT from Sony Pictures Television in association with Overbrook Productions and Jamie Tarses’ FanFare Productions. The second season of HAWTHORNE was executive-produced by Pinkett Smith; Glen Mazzara (The Shield, Crash, Life); Jamie Tarses (My Boys, TNT’s upcoming series Franklin & Bash); Masius; and Miguel Melendez.
article via deadline.com
TNT has written a prescription for a third season of the powerful medical drama HAWTHORNE, starring and executive-produced by Jada Pinkett Smith (Collateral, The Matrix trilogy). TNT has ordered 10 new episodes of the hit series, which is slated to return in 2011. Created by Emmy® winner John Masius (St. Elsewhere, Providence, Dead Like Me), HAWTHORNE premiered in summer 2009 and ranked as one of ad-supported cable’s Top 5 new series of the year. In its second season in summer 2010, the series continued its success, averaging 3.7 million viewers and ranking as ad-supported cable’s #1 Tuesday program among women 25-54.
“With its memorable characters, powerful performances and moving storylines, HAWTHORNE takes us on a dramatic journey through the world of a hospital on the brink of collapse,” said Michael Wright, executive vice president and head of programming for TNT, TBS and Turner Classic Movies (TCM). “This series has performed extremely well among our key demos and proven itself to be a great summer series. We are very excited to continue working with Jada and HAWTHORNE’s outstanding production team and cast.”
HAWTHORNE stars Pinkett Smith as Christina Hawthorne, an impassioned Chief Nursing Officer struggling to whip a failing hospital – and her personal life – into shape. Michael Vartan (Alias) co-stars as Dr. Tom Wakefield, who has a complicated personal relationship with Christina. The series also stars Suleka Mathew (Men in Trees), David Julian Hirsh (Lovebites), Christina Moore (90210), Vanessa Lengies (American Dreams) and Hannah Hodson (The Ron Clark Story).
HAWTHORNE comes to TNT from Sony Pictures Television in association with Overbrook Productions and Jamie Tarses’ FanFare Productions. The second season of HAWTHORNE was executive-produced by Pinkett Smith; Glen Mazzara (The Shield, Crash, Life); Jamie Tarses (My Boys, TNT’s upcoming series Franklin & Bash); Masius; and Miguel Melendez.
article via deadline.com
5 Webcomics Created by African Americans
by anjuan
July 29, 2010The opening of the massive Comic-con convention last week provided days of comic book related news coverage. However, few of the images from that event were of African Americans. The dearth of African American perspectives in mainstream comic books inspired many black artists to create webcomics. Webcomics are online sites that present a story in comic book form. The success of Boondocks and the current global recession were motivators for many of these artists to try their hand at starting an online webcomic business. These five webcomics present a sample of African American entrepreneurs who are presenting a different perspective on the web.
A Pug Named Fender
Created by Houston based artist Fave, A Pug Named Fender chronicles the adventures of a pug as he enjoys the thrills of barbecue, music, technology, and other essentials that make life worth living. This recently launched webcomic has already featured guest appearances by soul music artists like Questlove. New episodes of A Pug Named Fender are posted every Tuesday and Thursday.
JOE!
Michelle Billingsly created JOE! to capture the life the title character, a rambunctious 10 year old. This webcomic doesn’t just focus on Joe and has created a cast with well developed characters. There is no regular update schedule, but new strips come out about twice a month.
Addanac City
George Ford publishes Addanac City which depicts the shenanigans of Hank Addanac. It’s an interesting mix of Calvin and Hobbes and Phineas and Ferb. Ford keeps a rigorous schedule of publishing seven comics a week that goes back to August 2008. The cast is very diverse and both the writing and art show a high degree of quality.
Redux Deluxe
Charles Arrington’s Redux Deluxe covers the adventures of three boys named CJ, Chris, and Rob as they try to retrieve a lost basketball from a neighborhood girl named Angela. Containing many references to comic book and video game culture, new episodes of Redux Deluxe come out twice a week.
Company Man
Phoenix artist Frank Jordan publishes a new Company Man strip five days a week. I offers a humorous look at the lives of a diverse cast of characters. The content of the humor make it a webcomic for mature readers. The artists behind these five webcomics are using new media to present the diverse perspectives of African Americans through the comic art form. Both the comic book and webcomic industries tend to be representative of white culture, and these webcomics offer a refreshing dose of color commentary.
via blackweb20.com
Harry J. Elam Jr. became the Freeman-Thornton Vice Provost for Undergraduate Education five months after the university announced plans for a comprehensive review of undergraduate education.BY KATHLEEN J. SULLIVAN
As the oldest son of the first black chief justice on the Boston Municipal Court, Harry J. Elam Jr. long thought he would follow in his father’s legal footsteps.Until Elam realized – as a senior at Harvard College – that he was more interested in the drama of the courtroom than the law practiced within its walls.“When I was going off to UC-Berkeley to get a PhD in dramatic arts, I asked my father if he was disappointed in that choice,” Elam, the new vice provost for undergraduate education at Stanford, recalled during a recent interview.Elam got a surprising answer during that conversation more than three decades ago, a reply that seems to astonish and delight him even to this day.“My father said that” – here, Elam burst out laughing – “the one thing he would have been if he wasn’t a lawyer was an actor.”His father, who is now 88 years old, had already demonstrated his skill as an impresario by filling the house when his two sons – Harry, then a senior in high school, and the late Keith Elam, then in seventh grade – helped mount a production of A Medal for Willie, written by William B. Branch.“The Family,” a black youth theater troupe at Noble and Greenough School – the private school both sons attended – staged a summer production of the 1951 play, in which a southern African American woman rejects the medal posthumously awarded to her soldier son for bravery during World War II.“My father sent all his friends – jokingly – summonses to come to the play,” Elam said, sitting at a small round table in his office in Sweet Hall one recent summer morning. “For two nights, 500 people came – in the summer in Boston – to see A Medal for Willie, which my brother had a small part in.”Elam said his 81-year-old mother, who was the co-director of library programs in the Boston public school system, took him to plays as a child and encouraged his interest in theater. “Nothing was more important to her than reading,” he said.
Early acting career
Elam, who joined Stanford’s drama faculty in 1990 and is now the Olive H. Palmer Professor in Humanities, said acting was a big part of his undergraduate years at Harvard.
L.A. Cicero Harry Elam prepares for a lunchtime meeting while going over the rest of his schedule with Administrative Associate Anne Dazey.
“I loved to act at that point,” Elam said, adding with a laugh, “until I realized, years later, that probably I wasn’t that good.”At Harvard, Elam earned a bachelor’s degree in social studies, a cross-disciplinary major that focused on social change.Elam, who directed plays in high school, continued directing as a doctoral student at UC-Berkeley, after a professor asked him to direct skits in a class on Chicano drama.There, Elam discovered what he described as an “incredible connection” between the plays of Luis Valdez and El Teatro Campesino, a theatrical troupe founded as the cultural arm of the United Farm Workers Union in 1965, and the plays of Amiri Baraka (formerly LeRoi Jones), an African American artist – poet, essayist, playwright, music critic – and political activist.“All of a sudden my dissertation topic changed,” Elam said.“I wanted to look comparatively between African American drama in the 1960s and Chicano theater of that same time period. I wanted to see how theater functions as a mechanism for social activism and, to push further, to develop a theory about how to evaluate such theater. Such theater is necessarily ephemeral and often didactic, and some people were saying it wasn’t such great theater. But since its ends are social, I felt that it needed a much different means of analyzing it.”It was a topic that would become the focus of Elam’s first book of dramatic criticism, Taking It to the Streets: The Social Protest Theater of Luis Valdez and Amiri Baraka, which was published in 2001.While Elam was writing his dissertation, he accepted a teaching post at the University of Maryland and moved to Washington, D.C., in 1983.He enjoyed living in the nation’s capital but was eager to return to California. He accepted a visiting position in Stanford’s Drama Department in 1989 and joined the department as an associate professor the following year. At that point, he said, everyone in the department had published two books – except him.At first, he found the situation a bit intimidating.“But it was intimidation that drove me to work and to achieve at that level – as a scholar,” Elam said. “What I feel really lucky about during the years I was struggling to find myself and embrace the word ‘scholar’ was the partnership, collaboration, support and mentorship I received at Stanford, inside and outside the department, from people who were able and willing to give of their time.”
Author and editor of six books
Since then, Elam has written and edited six books. In 2006, he was inducted into the prestigious College of Fellows of the American Theatre.Elam became director of the Committee on Black Performing Arts when he arrived at Stanford, a position he held for 18 years. For eight years he also was the director of the Institute for Diversity in the Arts, which is devoted to exploring questions of race and diversity through the lens of artistic practice and performance. Elam has served as the chair and the director of graduate studies in the Drama Department.In addition, he was the senior associate vice provost for undergraduate education, working for two years under former vice provost John Bravman, now the president of Bucknell University.“Working in administration enables you to help shape the vision of an institution you care deeply about,” Elam said. “For me, being able to ‘sell’ Stanford, or to help Stanford, or to make Stanford a better experience, are critically important tasks and not at all antithetical to the other things I am – a scholar and a teacher.”
L.A. Cicero Tom Ehrlich, former dean of the Stanford Law School, discusses undergraduate education with Elam.
Elam compared working in university administration to directing a play.“When you’re directing a play, you are sharing your vision of the play with the audience, but it’s a vision informed by all the other artists involved in the production, including the actors and set designers,” said Elam, who has directed theater professionally for nearly two decades.“The play works best when everyone feels that they are working to their fullest, that they are contributing to the whole, and that it’s going to become this great thing as they go forth – the play. It’s also about an ‘end,’ because the play has to be performed. All of those things are true about university administration.”Elam became the Freeman-Thornton Vice Provost for Undergraduate Education five months after Stanford announced plans for a comprehensive review of undergraduate education. At that time, Elam was co-chair of the task force conducting the review, known as the Study of Undergraduate Education at Stanford. The task force is expected to present its recommendations in the fall of 2011.“One of the most important questions for the task force, and for me and the Office of the Vice Provost for Undergraduate Education, is ‘How do we reach and teach the new millennial learner,'” Elam said, referring to the current generation of students, which is made up of technologically savvy, confident, pressured, team-oriented individuals who have unusually strong relationships with their parents and a strong desire to achieve.The world has changed dramatically since Stanford transformed undergraduate education on the Farm 15 years ago with new programs, including undergraduate research and the Introduction to the Humanities (IHUM) program for freshmen.Under the new review, Stanford is looking for ways to prepare the students of today to become the global citizens of tomorrow.After becoming vice provost, Elam stepped down as co-chair of the task force. Susan McConnell, the Susan B. Ford Professor in Biology and a member of the task force, replaced him, joining James Campbell, the Edgar E. Robinson Professor in U.S. History. Elam said the combination – which unites professors from the humanities and the natural sciences – strengthens the task force.Elam will be getting to know some of those millennial students during the fall quarter, when he and his wife, Michele Elam, the Martin Luther King Centennial Professor, will be team teaching Beyond Survival, an interdisciplinary IHUM course, to incoming freshmen. The course will investigate the question: How do men and women survive – and overcome physical deprivation and social oppression – physically, intellectually, creatively and spiritually?“I am truly excited about teaching IHUM this year, not simply because I enjoy team working with my wife, Michele, but because I relish the interaction with Stanford undergraduates,” Elam said. “And I have this opportunity to try and make my teaching practice benefit from all the important ideology discussions that I have taken part in for the Study of Undergraduate Education at Stanford.”
Harry J. Elam Jr. became the Freeman-Thornton Vice Provost for Undergraduate Education five months after the university announced plans for a comprehensive review of undergraduate education.BY KATHLEEN J. SULLIVAN
As the oldest son of the first black chief justice on the Boston Municipal Court, Harry J. Elam Jr. long thought he would follow in his father’s legal footsteps.Until Elam realized – as a senior at Harvard College – that he was more interested in the drama of the courtroom than the law practiced within its walls.“When I was going off to UC-Berkeley to get a PhD in dramatic arts, I asked my father if he was disappointed in that choice,” Elam, the new vice provost for undergraduate education at Stanford, recalled during a recent interview.Elam got a surprising answer during that conversation more than three decades ago, a reply that seems to astonish and delight him even to this day.“My father said that” – here, Elam burst out laughing – “the one thing he would have been if he wasn’t a lawyer was an actor.”His father, who is now 88 years old, had already demonstrated his skill as an impresario by filling the house when his two sons – Harry, then a senior in high school, and the late Keith Elam, then in seventh grade – helped mount a production of A Medal for Willie, written by William B. Branch.“The Family,” a black youth theater troupe at Noble and Greenough School – the private school both sons attended – staged a summer production of the 1951 play, in which a southern African American woman rejects the medal posthumously awarded to her soldier son for bravery during World War II.“My father sent all his friends – jokingly – summonses to come to the play,” Elam said, sitting at a small round table in his office in Sweet Hall one recent summer morning. “For two nights, 500 people came – in the summer in Boston – to see A Medal for Willie, which my brother had a small part in.”Elam said his 81-year-old mother, who was the co-director of library programs in the Boston public school system, took him to plays as a child and encouraged his interest in theater. “Nothing was more important to her than reading,” he said.
Early acting career
Elam, who joined Stanford’s drama faculty in 1990 and is now the Olive H. Palmer Professor in Humanities, said acting was a big part of his undergraduate years at Harvard.
L.A. Cicero Harry Elam prepares for a lunchtime meeting while going over the rest of his schedule with Administrative Associate Anne Dazey.
“I loved to act at that point,” Elam said, adding with a laugh, “until I realized, years later, that probably I wasn’t that good.”At Harvard, Elam earned a bachelor’s degree in social studies, a cross-disciplinary major that focused on social change.Elam, who directed plays in high school, continued directing as a doctoral student at UC-Berkeley, after a professor asked him to direct skits in a class on Chicano drama.There, Elam discovered what he described as an “incredible connection” between the plays of Luis Valdez and El Teatro Campesino, a theatrical troupe founded as the cultural arm of the United Farm Workers Union in 1965, and the plays of Amiri Baraka (formerly LeRoi Jones), an African American artist – poet, essayist, playwright, music critic – and political activist.“All of a sudden my dissertation topic changed,” Elam said.“I wanted to look comparatively between African American drama in the 1960s and Chicano theater of that same time period. I wanted to see how theater functions as a mechanism for social activism and, to push further, to develop a theory about how to evaluate such theater. Such theater is necessarily ephemeral and often didactic, and some people were saying it wasn’t such great theater. But since its ends are social, I felt that it needed a much different means of analyzing it.”It was a topic that would become the focus of Elam’s first book of dramatic criticism, Taking It to the Streets: The Social Protest Theater of Luis Valdez and Amiri Baraka, which was published in 2001.While Elam was writing his dissertation, he accepted a teaching post at the University of Maryland and moved to Washington, D.C., in 1983.He enjoyed living in the nation’s capital but was eager to return to California. He accepted a visiting position in Stanford’s Drama Department in 1989 and joined the department as an associate professor the following year. At that point, he said, everyone in the department had published two books – except him.At first, he found the situation a bit intimidating.“But it was intimidation that drove me to work and to achieve at that level – as a scholar,” Elam said. “What I feel really lucky about during the years I was struggling to find myself and embrace the word ‘scholar’ was the partnership, collaboration, support and mentorship I received at Stanford, inside and outside the department, from people who were able and willing to give of their time.”
Author and editor of six books
Since then, Elam has written and edited six books. In 2006, he was inducted into the prestigious College of Fellows of the American Theatre.Elam became director of the Committee on Black Performing Arts when he arrived at Stanford, a position he held for 18 years. For eight years he also was the director of the Institute for Diversity in the Arts, which is devoted to exploring questions of race and diversity through the lens of artistic practice and performance. Elam has served as the chair and the director of graduate studies in the Drama Department.In addition, he was the senior associate vice provost for undergraduate education, working for two years under former vice provost John Bravman, now the president of Bucknell University.“Working in administration enables you to help shape the vision of an institution you care deeply about,” Elam said. “For me, being able to ‘sell’ Stanford, or to help Stanford, or to make Stanford a better experience, are critically important tasks and not at all antithetical to the other things I am – a scholar and a teacher.”
L.A. Cicero Tom Ehrlich, former dean of the Stanford Law School, discusses undergraduate education with Elam.
Elam compared working in university administration to directing a play.“When you’re directing a play, you are sharing your vision of the play with the audience, but it’s a vision informed by all the other artists involved in the production, including the actors and set designers,” said Elam, who has directed theater professionally for nearly two decades.“The play works best when everyone feels that they are working to their fullest, that they are contributing to the whole, and that it’s going to become this great thing as they go forth – the play. It’s also about an ‘end,’ because the play has to be performed. All of those things are true about university administration.”Elam became the Freeman-Thornton Vice Provost for Undergraduate Education five months after Stanford announced plans for a comprehensive review of undergraduate education. At that time, Elam was co-chair of the task force conducting the review, known as the Study of Undergraduate Education at Stanford. The task force is expected to present its recommendations in the fall of 2011.“One of the most important questions for the task force, and for me and the Office of the Vice Provost for Undergraduate Education, is ‘How do we reach and teach the new millennial learner,'” Elam said, referring to the current generation of students, which is made up of technologically savvy, confident, pressured, team-oriented individuals who have unusually strong relationships with their parents and a strong desire to achieve.The world has changed dramatically since Stanford transformed undergraduate education on the Farm 15 years ago with new programs, including undergraduate research and the Introduction to the Humanities (IHUM) program for freshmen.Under the new review, Stanford is looking for ways to prepare the students of today to become the global citizens of tomorrow.After becoming vice provost, Elam stepped down as co-chair of the task force. Susan McConnell, the Susan B. Ford Professor in Biology and a member of the task force, replaced him, joining James Campbell, the Edgar E. Robinson Professor in U.S. History. Elam said the combination – which unites professors from the humanities and the natural sciences – strengthens the task force.Elam will be getting to know some of those millennial students during the fall quarter, when he and his wife, Michele Elam, the Martin Luther King Centennial Professor, will be team teaching Beyond Survival, an interdisciplinary IHUM course, to incoming freshmen. The course will investigate the question: How do men and women survive – and overcome physical deprivation and social oppression – physically, intellectually, creatively and spiritually?“I am truly excited about teaching IHUM this year, not simply because I enjoy team working with my wife, Michele, but because I relish the interaction with Stanford undergraduates,” Elam said. “And I have this opportunity to try and make my teaching practice benefit from all the important ideology discussions that I have taken part in for the Study of Undergraduate Education at Stanford.”