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Addressing “The Complex”-ities of Skin Color: Intra-Racism and the Plays of Hurston, Kennedy, and Orlandersmith Faedra Chatard Carpenter (bio) Whether it is referred to as “colorism” or “color-consciousness,” having a “color complex” or being “color-struck,” the phenomenon of intra-racism based upon phenotypical appearance—most notably, the shade of one’s skin—has served as ripe material for multiple forms of African American artistic expression. In the quest to create dramatic material, intra-racism is self-satisfying: it is replete with complications, reversals, and conflict, all propelled by the obligatory factions of “good” and “bad” (although in these theatrical narratives such qualitative judgments do not measure moral character, but are passed onto fraught concepts such as “good” and “bad” hair). Thus it should come as no surprise that the issue of colorism is frequently treated in African American dramatic literature as evident by some of the canon’s most notable plays, three of which are regularly taught in colleges and universities: Color Struck (1925) by Zora Neale Hurston, Funnyhouse of a Negro (1964) by Adrienne Kennedy, and, more recently, Yellowman by Dael Orlandersmith (2002). Important contributions to American theatre, these plays are worthy and deserving of scholarly study not only because of their individual historical significance, but also for their cultural insight and the rich dramaturgical analyses they inspire. Nevertheless, as important as it is to acquaint our students with these works, their subject matter requires contextualization as well as a sensitivity to the fact that despite its lessening impact, the issue of color-consciousness is still a contentious topic within the African American community. No less “politically charged” than plays that wrestle with inter-racial dissonance, the color-politics of Color Struck, Funnyhouse of a Negro, and Yellow-man demand a classroom approach that acknowledges the cultural and historical specificity of the play(s), yet encourages feelings of engagement and inclusivity by allowing for the potential breadth of student experience. I write this article as an African American woman teaching in the theatre department of a large public research university. Thus my interest in addressing the issue of intra-racism in the classroom rises primarily out of my personal experiences teaching and guest lecturing for classes that usually have students of color, but are predominately comprised of white students. That being said, I am crafting this article with similar class configurations in mind: ones that are racially integrated, or those in which black students are few to none.1 While I have no doubt that the topic of intra-racism (within and beyond these texts) is comfortably addressed by many students and teachers in such settings, my experience in teaching these plays has revealed that others broach the issue of color-consciousness with some trepidation. I have come to recognize the following concerns and questions regarding the issue of colorism in the classroom: 1) is the teaching and staging of these plays a matter of “airing our dirty laundry”?; 2) do these plays give the erroneous impression that intra-racism (signified by a prioritizing of whiteness) is intrinsic to black thought, thereby justifying inter-racial bias?; and 3) does the dominant issue of colorism presented in these plays make them regressive works that fail to speak beyond the African American experience or to our current cultural moment? While I do not profess to offer absolute answers or solutions to these concerns, I do hope to assuage the intensity of these anxiety-ridden queries by suggesting ways to frame and approach these texts in the classroom. [End Page 15] “Airing Our Dirty Laundry”?: Racial Protocol and the Obligation of the Artist Zora Neale Hurston, one of the most significant figures of the Harlem Renaissance, joined a number of notable African American artists and literati when she addressed the issue of colorism in her 1925 play, Color Struck. As a trained anthropologist, Hurston’s writings reflect an investment in African American culture, particularly in the artistry and unique expressions found in African American folklore and rural life. Nevertheless, many of Hurston’s contemporaries believed that her talents and energies were misapplied; rather than producing work that portrayed the “pastoral” life of rural blacks, Hurston’s critics believed...
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