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Mountaintop Analysis
Mountaintop Analysis
EPISTEMOLOGY
Le’Mil L. Eiland
Mountaintop. The play fictionalized the night before Martin Luther King, Jr.s’
EPISTEMOLOGY
LE’MIL L. EILAND
MASTER OF SCIENCE
2014
UMI Number: 1572670
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PLAYING B(L)ACK IN KATORI HALL’S THE MOUNTAINTOP:
EPISTEMOLOGY
LE’MIL L. EILAND
COMMITTEE MEMBERS:
Alison Bailey
Ann Haugo
Touré Reed
ACKNOWLEDGMENTS
many people that have supported me towards this journey. I am very thankful for the
support I received from my thesis committee. My thesis chair, Will Daddario, has
supported my development through this journey. Alison Bailey and the WGS program
development and curiosity. Professor Reed challenged and encouraged me. I have to
also thank the professors at Syracuse University that made me see my future
aspirations. I have to recognize Janis Mayes, Micere Mugo, and Winston Grady-
Willis. He was journeyed with me. I need to mention the support and assistance I
receive from Veronda G. Carey and Julie Kistler. I have to acknowledge my father,
This thesis is dedicated to Kathryn Reynolds Eiland, Catherine Toole Eiland, Finlay
L.L.E.!!!!!!!!!!!!
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CONTENTS
Page
ACKNOWLEDGMENTS i
CONTENTS ii
CHAPTER
I. INTRODUCTION 1
V. CONCLUSION 90
FOOTNOTES 96
REFERENCES 100
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CHAPTER I
INTRODUCTION
The Mountaintop by Katori Hall is a fictionalized drama that takes place at the
Lorraine Motel on April 3, 1968. The play recounts the day before Martin Luther
King, Jr.’s (MLK) assassination. The hotel maid named Camae pays King--the
fictionalized version of MLK--a visit. Both characters discuss the Civil Rights
narrative, figure, and location. This play includes historical information that can be
the Lorraine Motel, and her dialogue with King are fictional accounts. The merger of
authenticity. The play presents proven documented information about MLK, such as
his name being Michael and extramarital affairs, and invented events, such as Camae
preparing King for his death and MLK being able to see The Mountaintop before his
past replaces forgotten and repressed historical information. This contemporary play
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historical understanding on MLK and the Civil Rights movement, in its attempts to
Soyica Colbert states that “The Mountaintop links itself to and distinguishes itself
craft revisionary and recuperative narratives and to give voice to histories that may
historical narratives. Thus, Black drama is intertwined with the need to develop
historical narratives and historical viability, yet the act of repairing historical
omissions does not replace historical omission. Historical fictions are narratives that
history and his relationship to the Civil Rights movement; the play is also projecting
an additional narrative about King. This play reflects the importance of returning to
issues and conflicts during the Civil Rights movement (1954-68). This play suggests
that periodization is an inadequate marker, based upon the viability of Civil Rights
narratives after 1968. The play also challenges romanticized narratives about a stoic
MLK.
The play has also gained its own notoriety. The play was awarded the coveted Olivier
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Prize from its premier production in London, England at Theatre 503 in 2009. Hall
was the first African American woman to win this prestigious award. The 2011
Broadway production was cast with Samuel L. Jackson as King and Angela Bassett as
Camae. Both actors were under the direction of Broadway veteran director Kenny
Leon. I was fortunate to see the Broadway production. The production maintained a
Camae and Jackson did not imitate a recognizable MLK. In addition to celebrity
appeal, the cultural significance of MLK made this play particularly important. Hall’s
play clearly revisits the historical past, yet acknowledges its connection to the
present. Colbert goes on to state that the play calls attention to civil rights
historiographical struggles about how to position MLK and his legacies and his
implications, by challenging gender specific readings on the past that silence Black
women. Colbert’s project does not grapple with the relationships between a historical
suggests that Hall’s account is forgotten. But Hall’s fictional play is an imagined past
that presents new ways of knowing and remembering this history. Colbert argues that
The Mountaintop is really about Camae and a forgotten history of Black women’s
activism. This bold claim isn’t strongly supported textually. It is important to return
MLK and how Hall’s historical fiction politicizes MLK’s imperfections and alters his
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relationship to the Civil Rights Era. The danger is that this historical fiction is
Mountaintop is a site of resistance that resurrects a historical figure and location, and
audiences.
Justification
that straddles the disciplines of literary fiction and history. The Mountaintop is a
theatrical performance that can destabilize the histories of MLK and the Civil Rights
movement. Philosophical theories are critically important to illuminate and reveal the
social importance of Hall’s work. The play also exists in a stream of contemporary
and fictionalized dramas on the Black past. It is important to exhume the significance
interested in this play because it provides grounds to engage in the cultural value of
theatre projects that imagine historical events without engaging with under examined
historical narratives.
Colbert’s analysis accepts theatre critic Ben Brantley’s critique that the play does not
offer new insights into MLK’s humanity. Colbert shifts her inquiry to focus on
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Camae’s importance to the movement and the history of gender violence against
Black women. While Colbert makes clear connections between Camae’s rape as a
prostitute and the rapes of Black women as an issue for Civil Rights activism, as
exemplified by Danielle McGuire’s At the Dark End of the Street, it is not clear how
I gently push away from this assertion. By positioning Hall’s King away from MLK’s
historical figure, my analysis can consider how the fictional character comments on
the historical character. Colbert also considers the importance of unfixing King from
the Lincoln Memorial where he delivered the “I Have A Dream” speech. Her analysis
unfixes King from the Lincoln Memorial, but doesn’t grapple with the importance of
Utilizing concepts from political science and anthropology, political geography, and
social epistemology I will reveal the advantages and contradictions of performing this
significance of the text, the spatial location, and how both construct a distinct
knowledge of its historical figure and the Civil Rights movement. By contrasting
each of these facets, I can examine the intersections among historicized Black drama,
the play can expand a person’s constructed knowledge on MLK, it can also distort the
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historical conditions that defined his reception. It is through my own research of The
troubling. In the process of constructing a new historical narrative on MLK and the
Civil Rights movement, Hall reassembles the historical conditions that actually
Limitations
I started this investigation forty-five years after the death of MLK. I originally
attended the production as a theatregoer excited to see a play about a historical figure
suggest that people have memories or perspectives on MLK that are fixed or stable.
Audience members, across various age ranges, hold different experiences of this
historical figure. There are people who remember when MLK was alive by personal
accounts or public events; some people don’t have any knowledge on MLK. I
position myself as a Black man who was born after he died. In addition, I was an
was explained and reinforced in multiple courses. A lot of what I know about MLK is
recollection and memory. Also, being a descendent of the Civil Rights Era, I consider
myself indebted to the sacrifices of MLK and other leaders such as Fannie Lou
Hamer, Ella Baker, Stokley Carmichael, Malcolm X, among others. I harbor a bias
about these figures’ historical importance due to my relationship as a Black man who
It has been two years since I saw the Broadway production of The Mountaintop. I did
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not take notes on the production. Many of my memories of the production are based
on events that I recall and conversations with my cousin who attended the play with
me. My experiences are based upon one production on Broadway. Other performance
the play. For this reason, I primarily reference the text of the published play. Also,
conversation with Soyica Colbert’s article. This void creates room for additional
interpretations. Colbert writes a strong analysis of the play. My thesis doesn’t agree
Methodology
something happened and more concerned about the socio-political importance of this
what ways does this play comment on socio-political issues? My main focus in this
paper is how MLK’s historical narrative and figure are reconstructed and destabilized
through Katori Hall’s The Mountaintop. I will primarily analyze Hall’s text and
discipline of theatre and performance. I consult theoretical concepts that reveal the
scholarly article on this contemporary play. My project is the second scholarly work
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that contributes to this discourse.
I also make distinctions between King, the fictionalized character in Hall’s play, and
and contrasting MLK and King, I am able to better understand the implications of
narrative, the historical location of his death, and the epistemic findings from the
will analyze how The Mountaintop references the historical past and is an
play’s contents and the spaces it references I can begin to postulate the importance of
Finally, by including an analysis of the text and few reflections from the performance,
I will be able to indirectly reveal the strengths and limitations of both mediums and
the benefit of combining both sources. Textual analysis provides a close reading of
the literary work. Performance analysis, especially in the second chapter, illuminates
what actors’ and audiences’ bodies are suggesting and signifying. Layering textual
performance theory and theatre historiography. This analysis has little to do with
Martin Luther King, Jr. (January 15, 1929 – April 4, 1968). While scholars have
developed works that complicate MLK, I contend that the play challenges
analysis is about how a historical figure has been portrayed for socio-political
purposes and how the play responds to events that reconfigure his social importance
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after his assassination.
Definition of Terms
martyr.2 It is in this context that I develop the idea of particular audience members
“as witnesses.” When I use the term witness I am referring to people who have a
they have prior knowledge on MLK, the Lorraine Motel, and/or the Civil Rights
movement. The etymology of the term witness is to hear, see, or know from personal
access to a primary source. Black folks engaged in the fight for Civil Rights alongside
MLK are witnesses to the play with a knowledge that comes from their personal
experiences.
There are other witnesses, like myself, that grew up learning about and listening to the
first-hand accounts of people who remember MLK when he was alive. Rooted in an
oral tradition, elders would talk about the Civil Rights movement and frame younger
listeners as “descendants of the Civil Rights movement.” When I use the term witness
is acknowledged as one of the leading advocates for racial equality. Black people are
not the only ones who are able to be witnesses, there were non-Black people who did
and still commit their lives to the advancement of civil rights. They are all witnesses
because they recognize the costs of such efforts and the sacrifices. Witnesses are
returning to this Civil Rights referential location able to testify in accordance to its
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historical figure, location, and/or movement.
The following terms will be defined and explained in the Review of Scholarship:
hidden and dominant transcripts; first, second and thirdspace; and epistemologies of
ignorance.
Review of Scholarship
Soyica Colbert’s article, “Black Leadership at the Crossroads: Unfixing Martin Luther
King, Jr. in Katori Hall’s The Mountaintop” is the only scholarly source on the
production. Colbert argues that Hall’s drama negotiates the legacy of MLK as Civil
Rights leader and African American drama. One of Colbert’s more interesting
contributions suggests that the play challenges a vertical cultural transmission through
passing down an inheritance. Colbert argues that, instead, the play enacts a
shaped.”4 Her spatial concepts repositions King from a hierarchical vertical position
Colbert goes on to suggest that the play contemplates ways of knowing King and
Camae. Colbert suggests that King calls our attention to the Civil Rights movement
grounding any textual examples for such an assentation, Colbert’s analysis textually
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Colbert then engages with theatre critic responses to the new contemporary
work. Colbert argues that The Mountaintop repositions King as a co-star of the civil
rights movement. With a generous critique on the role of Camae, Colbert postulates
that Camae is a central figure in the movement. Aside from her assessments of the
civil rights histories. Colbert connects the play with historian Danielle McGuire’s At
the Dark End of the Street. McGuire tracks the history of Black women activism and
sexual violence as the catalyst in shaping the Civil Rights movement. It is clear the
parallels between the sexual violence in McGuire’s text and Camae’s experiences as a
prostitute. It is unclear how Colbert is reading Camae as a leader and activist of the
movement.
Colbert places Hall’s work in the legacy of August Wilson and Suzan-Lori Parks.
Colbert cites Harry Elam, Jr.’s scholarly writing to frame a critical understanding of
unifies Wilson’s dramas. […] The process of (w)righting history necessarily critiques
how history is constituted and what history means. It reinterprets how history
operates in relation to race and space, time and memory.”5 It is in this tradition that
Colbert plants Hall’s work. Parks provides a different theory on the process of
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considers Camae’s epic monologue as an epic poem with historiographical
insights. Colbert tracks Camae’s speech in a Black poetic tradition. I was intrigued
challenge how they are viewed in dominant spaces. Colbert closes her essay
of Black leadership.
I also consulted Soyica Colbert’s The African American Theatrical Body. Colbert
analyzes theatrical dramas and performances that span over a century. Colbert
considers the social, political, cultural, and economic conditions that surround each
play’s attempt to repair the damages from the trans-Atlantic slave trade and its
aftermath. The plays that Colbert references resituate Black folks across time and
space. Colbert contends that these performances are acts of recuperation and
restoration, creating sites that have the potential to correct the damages from
Raisin In the Sun and atypical performances like lynching and religious sermons.
Colbert is able to connect typical and atypical performance through the significance
Harry Elam’s The Past as Present in the Drama of August Wilson provides an
important contribution to my project. Even though Elam’s project engages with the
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narratives with contemporary performance. Elam situates Wilson in the larger socio-
historical context of Black life. Elam postulates that theatre is a vehicle to challenge,
articulate, and redefine suppressed and manipulated histories on race. Artists’ need to
return-to-the-past reflects a present need to reckon with history. These artists not only
fill in historical gaps, but also suggest what history means in the present. Elam cited
James Baldwin statement when he stated, “We carry our history.”6 Baldwin’s
comments are important in relation to Elam’s project because history is carried and
freedom from 1850-1910. Even though Brooks does not cover the Civil Rights period,
her project is beneficial to my project in reading the body as a site of racial dissent.
Brooks’ project examines performers who challenged social, political, and cultural
alterity to resist, complicate, and deconstruct narrow racial, gender, sexual, and class
identities in American and British cultures.7 Brooks frames the performances around
because it considers how performance is a site of dissent that challenges and redefines
marginalized folks.
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confirm, contradict, or inflict what appears in the public transcript. The public
unlikely to tell the whole story. An enslaved African stealing food, for example, is
hidden transcript records stealing food as an act that affirms one’s personhood and
appropriation and human exploitation. While hidden transcripts take many forms, this
example illustrates the distinctions between the public and hidden transcript. The aim
of Scott’s project is to more successfully read, interpret, and understand the often-
Places. Thirdspace is an intersection of material spatial structures and how the space
epistemology focused on the concrete materiality of the spatial structure, on how the
structure is assembled and mapped, and Secondspace the perspective that works with
spatial structures through mental and cognitive forms. Thirdspace expands spatial
important when thinking about how multiple Lorraine Motels are each distinctive
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sites. While each space is referred to by the same name, its socialization, location, and
Motel. Soja’s issue was that spatial disciplines like Geography, Architecture, Urban
and Regional Studies, and City Planning, among other disciplines, tended to focus on
ignorance.9 In the article, Alcoff compares and contrasts recent projects on the
Lorraine Code, Sandra Harding, and Charles Mills, Alcoff solidifies their
contributions to the field and how the previous work of Horkheimer can advance the
future trajectory of this discourse. While Horkheimer’s project predates the work of
norms connects faulty reasoning, regarding the medical field, to the foundation on the
information about women’s bodies. This medical knowledge was a form of managed
ignorance.
methods. More precisely, Code challenges this universality of “S” in “S knows that
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conditions that inform the researcher’s inquiry. Code’s project is important because it
seeks to critique the unseen biases that inform conventional epistemic claims.
adds that ignorance is still possible, even when all knowers have access to the same
facts. For example, if one is in an operating room with trained professionals, not all
knowers may know how to read the patient’s monitoring devices. This example
suggests that knowledge and perception is based upon context, or how each knower is
situated. Alcoff writes that “most knowledge is the product of judgment calls”
informed by initial perception, but in order to understand and know the more complex
epistemic operations operate further investigations must be studied. The point here is
that in order for doctors to read medical devices, their “situatedness” informs what
and how they know. Both the assistants and the doctor have access to read the
numbers, yet the doctor’s process is more involved in evaluating the significance of
those numbers. Using this as an example then, Code provides scope to examine the
ways in which the knower can be advantaged or disadvantaged based upon their
context.
yield a counter-knowledge from dominant groups. Marginalized folks are less vested
Alcoff, suggested that marginalized folks might perpetuate ignorance for the sake of
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survival. Group identity can have different knowledge of the same subject. The
example that was given is one’s view when learning that someone was arrested.
Different groups have differing cultural relationships with the criminal system, which
can directly inform what one perceives to know. Class and race groups have distinct
relationships to the criminal system that challenges dominate ideologies on the same
system. Marginal groups can have different procedures for justifying claims. The
important aspect of Harding’s work is the correlation between epistemic inquiry and
group identity. This correlation suggests that both knowledge and ignorance can be
Charles Mills’s project suggests that dominant groups have a positive interest in
perpetuate ignorance for dominant groups. Dominant groups have less of an interest
ignorance. Mills’s project does not advocate for the elimination of epistemic research
for the sake of identity politics. Mills critiques the identity politics that inform
epistemic inquiry.
One of Code’s many contributions to the project is that her scholarship provides
reasoning to question the knower or investigator. While Code’s project does not
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intersect with theatre, I do think she provides a lens to challenge Hall as a knower.
Harding’s project provides lens to understand how marginalized groups can have a
different process for constructing knowledge and ignorance than dominate groups.
And finally, Mills project reveals how people can have a vested interest in “knowing
wrongly.”
Chapter Outline
My focus throughout this thesis is on The Mountaintop and how the production
engages with MLK’s historical persona. In my readings of the play, I assert that the
play is attempting to humanize Martin Luther King, Jr. The play reveals his
Each chapter in my thesis departs from Colbert’s general location of transmission and
In my first chapter, I will examine the text through James C. Scott’s theory of hidden
narratives on MLK’s historical figure. These dominant narratives, or what Scott calls
resistance. Hidden transcripts operate as acts of dissent that affirm one’s humanity
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imperfections. Yet, it is the public declaration of hidden transcripts in The
Mountaintop that realign the borders between hidden and dominant transcripts. The
distinctions in spatial structures that reference the same history moment (the
assassination of Martin Luther King, Jr. on April 4, 1968). Both the National Civil
Rights Museum and the set design in Katori Hall’s The Mountaintop reference Room
installations are referential and divergent which in turn multiples and destabilizes its
witnesses, and spectators gather distinctively different information based upon the
I will examine Katori Hall’s representation of the characters, King and Camae, and
her theatrical representation of the Civil Rights movement in her play The
Mountaintop. I will argue, on one hand, that Hall’s revisionist project reclaims MLK,
the historical figure, for histories of Black resistance. I engage with Charles W. Mills’
The Racial Contract to show how revisionist projects, like The Mountaintop, are
critical to correct reductive knowledge of MLK and the Civil Rights movement. On
the other hand, I argue that Hall’s revisionist project also contributes to the social
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production of ignorance. In this second section, I will analyze the character of Camae
and, again, the Civil Rights movement. I will deploy Mariana Ortega’s concept
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CHAPTER II
In the Foreword to The Mountaintop by Katori Hall, Sociologist and cultural critic
Michael Eric Dyson states, “this play is as good a place as any to start the journey” [to
restore Martin Luther King, Jr. to his complicated humanity].11 I agree with Dyson
that this play is a journey through time and space. However, I don’t subscribe to the
notion that this play is the start of a journey. It is important to pay special attention to
Dyson’s use of the word “restore.” Dyson argues that the play shatters MLK’s image
as a stoic martyr.12 Implicit in Dyson’s claim is that there are two varying depictions
of MLK. MLK is either a conflicted leader or stoic martyr. Hall reconciles these
binaries and constructs a King that mobilized Black protests and participated in
infidelity. The idea that MLK is a stoic martyr is dangerous because it suggests that
MLK was killed for his beliefs and showed no trauma or pain. Dyson suggests that
Hall’s play resists the idea that MLK is an ideological martyr unfazed by his
assassination. The important point here is that this play is read in relation to MLK’s
historical figure.
This play exists in a host of cultural events and spectators that pay homage to MLK.
Since his assassination, events such as the annual national holiday, street dedications,
longer just a play because the production is predicated about a historical figure who
has contemporary installations, events, celebrations, and memorials that repeat his
virtues, victories, and ideological vision for civil rights. There are still living
participates of the Civil Rights movement who share more personal stories about
community, talking about their memories of the Civil Rights movement and/or
seemed like my grandmother’s friends’ conversations about MLK were more visceral
MLK events and Hall’s play both reference April 3, 1968, Hall incorporates
dissenting information about MLK that operates as hidden transcripts. Hall embeds
hidden transcripts in the play resisting MLK’s historic figure as a stoic martyr.
Nevertheless, Hall challenges more than just the idea that MLK was stoic martyr.
Hall also challenges and resists MLK’s public persona as a Black minister advocating
for social and political rights with a view of MLK in his private motel room. This
historical narrative. These hidden transcripts are acts of resistance that challenge
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challenge those in power by constructing a ‘hidden transcript,’ a dissident political
culture that manifests itself in daily conversation, folklore, jokes, songs, and other
cultural projects.”13 Simply put hidden transcripts reference actions and behaviors that
complicate MLK’s historical figure. I will propose the following questions: How do
Luther King, Jr.s’ idolized and stoic figure? Do hidden transcripts present an
I argue that The Mountaintop is a site of resistance that uses hidden transcripts to
challenge MLK’s historical figure and his relationship to the Civil Rights movement.
Whereas King is a fictionalized construction of MLK, Katori Hall merges hidden and
analysis of Katori Hall’s The Mountaintop to reveal deploys hidden transcripts, which
are acts of dissent that contest dominant discourse and restore a sense of personhood
on Martin Luther King, Jr. Transcripts are political conduct, through verbal
component to Scott’s project. Scott distinguishes discourse and acts within dominant
and subordinate spaces. Within dominate spaces the public transcript reflects political
conduct that is aligned with hegemonic norms and practices. Within subordinate
spaces, the hidden transcripts reflect political conduct that is aligned with
transcripts occurs in spaces where the dominant transcript has authoritative control.
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Hidden transcripts primarily occur in private spaces not governed by dominant
control.
In Domination and the Arts of Resistance: Hidden Transcripts, Scott writes about
confirm, contradict, or inflict what appears in the public transcript. The public
unlikely to tell the whole story. An enslaved African stealing food, for example, is
transcript records stealing food as an act that affirms one’s personhood and agency by
human exploitation. While hidden transcripts take many forms, this example
illustrates the distinctions between the public and hidden transcript. The aim of
Scott’s project is to more successfully read, interpret, and understand the often
2012 is not explicitly apart of Scott’s project, I assert that The Mountaintop is
ideals. These ideological reconstructions of MLK are dangerous because they silence
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A hidden transcript represents a critique of power spoken behind the back of the
dominant society. Hidden transcripts are listed as, but not limited to, hidden
aggression, tales of revenge, gossip, rumor, creation of autonomous social space for
myths of social banditry and class heroes, and myths about the “good king or the time
because they are subtle acts of resistance that dominant systems don’t understand.
Hidden transcripts are misunderstood because they can be misread and its political
hidden transcripts are acts of resistance that lie below the dominant transcript.
Because hidden transcripts are discussed under the radar of the dominant transcript,
Scott considers how the hidden transcripts operates in private space, and due to
same action can be misread to support dominant ideologies, but also circulate in
be exemplified, but not limited to, social protest, public declarations of opposition,
and acts of violence like rebellion and riots. Public transcripts perform in spaces of
dominant control.
Understanding the relationship between hidden and public transcripts can offer new
public transcript. I think about Scott’s relationship with the hidden and public
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While the binary terms are troubling, Scott’s analysis is beneficial in considering how
communities create and defend a social space where dissent to the public transcript
conduct.16 Hidden transcripts exist among dominant transcripts. Scott cites the
the first signs of actual rebellion. Hidden transcripts are forms of resistance that “gave
Scott challenges the idea that hidden transcripts are either empty posturing or a
substitute for real resistance. Scott’s project illuminates how material and symbolic
resistance are a part of the same mutually sustaining practices. Hidden transcripts are
not a simple clash of ideas; they are anchored in the process of critiquing and
transcripts are strategic acts of resistance that breach the public transcript expanding
new territory for resistance. Scott is challenging the idea that subordinate political life
huge political terrain between the quiescence and revolt. Both hidden transcripts and
practical resistance are resisting cultural appropriation. Both are aims at negating the
public symbolism of ideological domination. All political action takes forms that are
This theory makes me think about The Mountaintop. While the play can be seen as
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another cultural event capitalizing and commodifing MLK’s history, I am intrigued
about the idea that the play harbors subtle acts of resistance guised within a dominant
transcript.
Scott concludes his text with a discussion of the public declaration of hidden
transcripts. When subordinate groups breach the public transcript with openly
transcripts are then acts of defiance that refuse to reproduce hegemonic appearances,
by challenging ideas in separate spaces. Scott gives the example of large numbers of
declaration of their bodies and their voices with this choice is an act of defiance
insubordination because it calls into question all other acts that this form of
subordination entails. If hidden transcripts on MLK are bound in Hall’s text, can
and its social system of order liberating the culturally and socially oppressed. Scott
explains how Solomon Northrup openly declared his cruel treatments as an enslaved
Black man in Twelve Years A Slave. Northup recounts how declaring his experience
transcripts restore a sense of self-respect and personhood for Martin Luther King, Jr.
(MLK). The Mountaintop utilizes theatre spaces to resist dominant and appropriating
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practices that reduce MLK to an icon reflecting and celebrating Americanized ideals
such as when King recited lines from MLK’s speech “Why America is Going To
Hell.”
play references information about MLK’s contributions and death. Katori Hall states
that in the play “This is a more radical King, the man not the myth, I want people to
see this extraordinary man, who is quite ordinary, achieved something so great that he
actually created a fundamental shift to how we as a people interact with each other.”19
how MLK altered how people, especially racial groups socialized with each other
after his death. Hall also suggests that King as a radical man challenges the idea of
King as a virtuous mythical figure. Her intent is to reveal an ordinary man with
unlike events that regurgitate MLK’s ideological virtues of love, justice, and
democracy, is that the play references his victories and virtues with his controversies
and contradictions.
In order to identify how the hidden transcripts resist the dominant transcript, I will
begin by establishing a basis for what I consider MLK’s dominant transcript. Hall’s
ceremonies, and text that articulate an uncontested and accepted historical narrative.
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By discussing select MLK events that publicly declare a historical narrative on MLK,
I can assemble a dominant transcript. When the Martin Luther King, Jr. Memorial
was erected on the United States National Mall in Washington, D.C., the MLK
monument was placed with other presidential and war memorials. The National Mall
commiserates “individuals and events that symbolize our [the United States of
equality, unity, diversity, service, healing, citizenship, civil rights, liberty, service,
dedication, courage, sacrifice, innovation, unity, and diversity, as well as the struggles
showcases how MLK’s historical figure is defined and interpreted through American
ideals and virtues. The installation of his memorial suggests that he so exemplified
American ideals that he was the only African American private citizen to have a
Washington under the section “The Dream of Equality.”21 The textbooks cites a
reference of MLK’s “I Have A Dream” speech where MLK writes about black boys
and black girls will hold hands with white boys and white girls as brothers and sisters.
MLK’s historical figure is reduced and recycled in this textbook as a figure rooted in
racial unity and harmony. The dominant transcript records MLK as a visionary that
officials. The textbook states, “the African-American rage baffled many whites.
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‘Why would blacks turn to violence after winning some many victories in the South?’
they wondered.”22 The implications of this statement suggest that civil right tension
existed between white politicians and black civilians. This textbook operates as a
dominant transcript that reduces MLK as an idealistic visionary and the fight for civil
rights as a clash between government officials and Black civilians. The Mountaintop
information regarding the setting, date, and social conditions surrounding MLK’s
death.
I repeat the sentiments of Scott that dominant transcripts are not incorrect
While MLK did have virtues, reducing him solely to those virtues erases his flaws
transcript signify a relationship between Hall’s play and the dominant transcript on
MLK. Dominant transcripts on MLK reflect the location of his death, his reason for
being in Memphis, the speech he delivered earlier that night, and the location and date
of his last moments alive. Also, MLK did share the motel room with Ralph
Abernathy. In addition, MLK and King are both ministers and political organizers
during the Civil Rights movement. MLK was also married to Coretta Scott King and
had a daughter named Bernice. The play takes place the night before MLK is
assassinated on April 3, 1968. The setting also takes place in the historic Lorraine
Motel in Room 306. Room 306 was the room MLK occupied before his death. King,
the fictional character, opens the play preparing a sermon that he is planning to
deliver. King talks on the phone with his wife Coretta and daughter Bernice.
Because Hall includes this historical information like the sanitation workers strike, it
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suggests that this play is a theatrical version of MLK, which exists, in the dominant
transcript. While this can be viewed as simply historical information, in the tradition
Hall also includes MLK’s political activities that are found in his political transcript.
On April 3, 1968, MLK delivered his last public speech entitled “I’ve Been To the
mobilize a protest for Black sanitation workers. The workers were being underpaid in
relation to the white sanitation workers. This particular cause for protest reflects how
MLK spoke against social inequalities. MLK was famously known for recycling
biblical narratives to advocate for non-violent protest during the Civil Rights
movement. Hall also references the “Poor People’s March on Washington” MLK was
organizing. This Poor People’s March would unite people across racial lines to
challenge class disparities in the United States. MLK was a man who personally
MLK reinforces his virtue as an iconic symbol of admirable virtues like freedom,
love, and compassion. While this isn’t necessarily a misrepresentation it does not
paint the whole picture. Hall’s play is in relationship with a socially current dominant
transcript on MLK. While these public transcripts are historical correct they
incorporating hidden transcripts that illuminate a narrative that deviates from MLK’s
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she constructs a MLK that exists in American public discourse. Yet, Hall does
include historical information that signifies a disconnect between MLK’s public and
private persona. King is frightened after a lightening storm. Camae states, “Michael,
because that was the name that his close friends like Ralph Abernathy used and it was
known to calm him down.24 King is surprised that Camae, whom he just met, knows
his birth name. For readers that did not know MLK’s birth name was Michael, this
fact distinguishes MLK’s personal and public persona. Only his personal contacts
knew of the name listed on his birth certificate. This is one of several discrepancies
between MLK’s historical figure and The Mountaintop’s King. This is a hidden
private and public persona, thusly suggesting those that only know about MLK’s
public persona may not know as much about him as claimed. While the dominant
transcripts reinforces and recycles the same narrative, the hidden transcript challenges
its authority.
While the dominant transcripts associate MLK with American ideals, Hall
incorporates historical information that resists that idea. Hall’s hidden transcripts
construct a King who politically criticizes the United States. Hall doesn’t begin the
play with the “I Have a Dream” King, she begins her play with King angrily reciting
lines from his “America is Going to Hell Unless…” speech. The start of the play Hall
is recalling a MLK figure that is critical of American polices and practices. King,
reciting truncated lines from his speech, declares, “Why America is going to hell,”
and “America, you are too ARROGANT!”25 King goes on to state, “My country who
doles out constant misery.”26 King speaks of an American violence that is often silent
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in the dominant transcript. The MLK that spoke out about America’s path toward hell
and arrogance fights against the idea that MLK had mutually vested ideals with the
Hall also resisted a romanticized view of MLK that is perfect. Profanity operates as
hidden transcripts to counter MLK’s righteous image in the dominant transcript. King
using profanity destabilizes that he is righteous and without flaws. Hearing King use
the word “Shit” shattered an idea that preachers don’t use impolite or offensive
language. King uses language that isn’t associated with the civil rights speaker.
Within Hall’s Room 306, King is using language not associated with the “I Have A
Dream” MLK. Hearing King use the word “shit” reflects a civil rights leader that
used profanity to express his frustration. A more controversial moment is when King
states, “‘Fuck the white man’? (Long heavy beat.) I likes that. I think that’ll be the
is his dismissal of “the white man” that reflects his frustration and irritation.
Smoking also operates as a hidden transcript. Reading King’s lines that talk about his
need for smoking, and later reading stage directions of him engaging in the act
multiple times reveals that King had unhealthy affinities. Smoking challenges MLK’s
socially responsible image. When King states, “I’m wanting one [a cigarette]. Bad...”
offstage to Ralph Abernathy, it suggest that King was a chain smoker.28 King ends up
smoking two cigarettes with Camae in the play, and still questions where Abernathy
is with his Pall Mall cigarettes. Hall does shatter the idea that MLK didn’t have
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Fear also challenges King’s stoic image. King was not a pillar of fortitude and
strength without fear. Hall incorporates dominant and hidden transcripts on fortitude
and fear to muddy the borders between the public and hidden transcripts. King states,
“I have felt fear. Felt it in my guts. Felt it in my toes. Felt it when I stood in front of
my own congregation in my own church. There beneath that old rugged cross, I
quaked and shook with fear.”29 Even though King led a non-violent movement, it
didn’t mean that King wasn’t subject the violence or fear. King does address his
adamancy for non-violent protest marching in the midst of fear.30 While the dominant
When dominant transcripts focus on MLK’s stoic image, they misrepresent his
corporeal humanity. Hidden transcripts can be displayed in the stage directions of the
play signifying conditions in MLK’s body. When Camae comments on King’s smelly
feet or when King massages his feet after taking off his shoes, these comments and
actions are hidden transcripts that reaffirm his humanity. The affirmation of King’s
humanity has political implications, because events like his national holiday place his
acknowledge bodily responses that signify King’s humanity. King’s body is a sight
of stress and discomfort. Also, when the stage directions comment for King to urinate
Accusations of flirting and infidelity also resist dominant transcripts on MLK virtue.
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King: You sho’ll is pretty, Camae. Camae: That ‘bout the third time you done
tole me that. King: Second. Camae: The first time you told me witcho eyes.
King: You saw me? Camae: Hell, a blind man coulda seen’t the way you was
Because it was already previously established that King was married to Coretta, the
play displays an out-of-town married man flirting with the motel maid. Throughout
their brief encounter in the motel, King has made multiple flirtatious advances
towards Camae. This interaction ends with King suggesting that Camae forgive him.
Camae states she will forgive and forget. Dominant transcripts do not publicly include
informant trying to sexually seduce him. King states, “What, y’all think you can trap
me again! Record me with a woman, again! Well, you’re not going to catch me
suggests that King has been in this compromising position before and that it was
recorded and sent to his wife. King’s flirtation and infidelity challenge his virtuous
image.
Hall even resists the idea that MLK was a meek leader to the socially disenfranchised.
In The Mountaintop, King is vain. When King questions Camae about whether he
should shave his mustache King states, “My physical appearance is important. To the
people.”33 King goes on to state, “Just tryin’ to shave some years off. I done got to
looking old.” MLK is not stoic figure here, on a surface level he’s vain or trying to
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prevent his aging, and on a deeper level his is concerned about being perceived as an
old man.
narrative that suggests MLK’s work isn’t done. While dominant transcripts celebrate
Boycott that resulted in desegregated buses or winning the Nobel Peace Prize-- Hall
writes about a King that did not reach his Mountaintop. King’s untimely
assassination prevents him from seeing the equality he envisioned and advocated.
King pleads with Camae about giving him a little extra time on Earth. King pleads,
“But I have so much work to do…” and “But I’m the leader of this movement. The
head of the body.”34 Once Camae has warned King of his imminent death, King calls
God on the phone to petition her to stop his assassination. To no avail, King accepts
his fate. The play ends with King beseeching America to complete his assignment.
King goes on to state, “Walk towards the Promised Land, my America, my sweet
America with this baton I give to you, this baton I shall no longer carry.[…] King
The Mountaintop in performance allows for the opportunity for these hidden
dominant transcripts on MLK. MLK’s historical figure exists with public memory and
embedded with acts of defiance that reconfigure the borders between the public and
hidden transcripts. For audience members, these hidden transcripts become apart of
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dominant narratives on MLK. King challenges a MLK bound by virtues and
erase MLK’s flaws. Hall restores King’s complex humanity as a result of including
the hidden transcripts with his virtues, aspirations, and political activities.
The Mountaintop is a site of resistance that challenges and resists reductive and stoic
and events that allow him to be anchored in the play and exist in audiences’ memories
on MLK after the production. Scott’s theory of hidden transcripts exhume how
rumors, gossips, actions, and behaviors project a MLK of dissent against his dominant
transcripts. I am now thinking about how the many MLK-centered events are
transplanted into other geographical spaces?. How does space play a role in
distinctions between the museum, motel, and set design? How does the theatrical set
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CHAPTER III
transcripts. There are distinctions when the same Room 306s is references in
On January 19 and 20th, 2014, my father and I got out of the car and walked a couple
direction of Room 306. In January of 2011, my cousin and I traveled over seven
hundred miles to attend a performance at the Bernard B. Jacobs Theatre and to sit in
front of theatrical replica of Room 306. I waited in line in the New York cold to get
two discounted rush tickets. On April 3, 1968, after preaching at the Masonic
Temple, Martin Luther King, Jr. returned to Room 306, because the Lorraine Motel
was a lodging option that catered to Black folks in segregated and racially tense
Memphis, Tennessee. These three particular sites center on a fixed reference: Room
306. How do these different Room 306s diverge and intersect? All three sites are
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linked together by MLK’s narrative, yet their spatial functions and configurations as a
museum, set design, and actual motel distort MLK’s historical narrative. Each
narrative. Yet, their divergent spatial functions as a motel, museum, and theatrical set
design distinguish how they are experienced, based upon their social functions and
socialization.
David Gallo’s set and projection design in The Mountaintop, the National Civil Rights
Museum, and the historic Lorraine Motel reference the same location – the site of
importance. Each space is distinctly different due to its different geographical and
theatrical, tourist, and lodging site due to their geographical and historical positions.
Their spatial functions and historical narratives are referential and divergent. The
multiple Room 306s construct narrative through a relationship between people and
spatial configuration. Spatial ethnographic analysis reveals how these spaces are
My project returns back to Bernard Armada’s two-sided analysis of the National Civil
Rights Museum. What are the limitations of Armada’s reading of the museum site
Thirdspace, I reconceptualize not only the museum, but also the set design in The
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Mountaintop. By analyzing both replicas, Thirdspace reveals that each spatial
configuration is distinctly unique, debunking the assertion that they are the same. In
what ways do geographical location, spatial function(s), and people define and
experience Room 306? I will observe and interrogate witnesses’ relationship to these
spatial structures in ways that reveal that the MLK-centered history that is preserved
memories, alter the historical multiplicity and complexity of the Lorraine Motel.
these new replicas are not recreations. These contemporary sites omit and lose
historical contexts, because they cater to social parameters of a theatre and museum.
In his article, “(Dis)placing the Dissident Body,” Bernard Armada examines the
National Civil Rights Museum (NCRM) and the ways in which countering memories
are created, maintained, and destroyed. Armada argues that when the NCRM
or executed. Smith is the last resident of the motel, before it was remodeled into a
museum. Ever since the court ordered her eviction, Smith returns to the site of her
by the NCRM and Jacqueline Smith. Armada argues that the acquisition and
conversion of the Main Street Boarding House, where James Earl Ray allegedly shot
MLK, into a museum displaces Jacqueline Smith’s protest site. Smith was originally
positioned directly across the street from the Lorraine Motel’s Room 306. The
building behind Smith’s protest table was the Main Street Boarding House. The
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museum’s acquisition of the boarding house meant that Smith was now trespassing on
private property. Smith was repositioned from directly across Room 306 to the corner
of the block. This displacement limited Smith’s direct visibility and her alternative
reading of Civil Rights sites. Armada suggests that the geographical relocation of
expansive of the NCRM. The repositioning of Smith expands the NCRM’s rhetoric
landscape” which is text fluid and without “self-contained, physical and cognitive
boundaries” that shape visitors’ perceptions. This statement suggests that the NCRM
MLK-centered text expands beyond the borders of the material building structures.
being silenced. The basis of his argument is that “competing texts may become
silenced and pushed to memory’s backstage by those with the power to write the
official story.” Armada believes that one memory can suppress the agency of another.
But Armada's binary analysis actually silences other memories and MLK-centered
narratives that negotiate these spaces. Due to the cultural visibility of MLK and the
Civil Rights movement, witnesses and tourists harbor additional memories that are
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Armada then tracks the site’s transition from motel into museum and Smith’s
1980.36 The museum officially opened its doors in September of 1991. In 2002, the
museum’s expansion plan included the boarding house and the Young and Marrow
Building. Included in this eleven million dollar project were a gift shop and
pedestrian area. Armada intentionally frames his investigation around the external
structure, minimizing the internal contents of the museum sites. The assemblage of
archival information, texts, and relics interacts with witness’s memories. The
museum sites are placed in direct dialogue with Jacqueline Smith’s protest site.
Smith’s protest site consists of a folding table and two chairs. Her very presence
class disparities disempower poor folks. Smith illuminates the irony of installing a site
to pay homage to a man that fought on behalf of the poor by displacing the poor from
the very structure that will honor him. Armada suggests that the acquisition of the
Smith’s reposition challenges the ways in which visitors “engage civil rights
memory.”37 Armada asserts that 1) visitors are no longer confronted with Smith’s
homeless presence and visual displays, 2) Smith is out of the visitors’ field of vision,
and 3) the trees and foliage block Smith and force visitors to walk through the
pedestrian area. Armada ends this section suggesting that the physical relocation of
Smith “erases her words” and “deflects attention from any challenge to the museum’s
version of memory, as well as any challenges to the ethic of its practices.”38 Armada
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wonder if the expansion of the museum still keeps Smith within a relational proximity
to visitors. Can the idea that Smith is out of the visitors’ field of vision be challenged?
And, lastly, wouldn't the foliage from trees be a seasonal obstruction, since the leaves
fall off in colder seasons like fall and winter? Armada does not fully complicate the
ways in which visitors navigate and engage with the space to gather a narrative on
allowing spectators to enjoy “the bliss of amnesia” from the NCRM’s narrative.
Armada states that Smith provided multiplicity to the monolithic memorial and that
her forced displacement does a disservice to visitors who might otherwise engage in
critical thought on civil rights sites. Armada doesn’t interrogate how the residents of
Memphis have their own memories that can co-exist with Smith’s, the NCRM, or
both. Also, the NCRM may be a space for learning and engaging in critical thought
and in addition, spectators could navigate the space for cultural, historical, or personal
relationship between the NCRM and Jacqueline Smith’s protest site, preventing a
Room 306. Armada bases his project on the premise that competing memories are
created or destroyed with the double use of the term “execution.” Armada’s
competing memories are issued a death sentence, deflected by the former unless
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someone else comes to keep the latter alive” reduces the potential and complexity of
By framing his investigation through rhetoric, Armada devalues the roles of social
and geographical conditions that shape this particular Room 306. Armada is
to the motel balcony. Armada is solely focusing on the relationship between Smith
and the museum’s main attraction, the balcony of Room 306. His argument, simply
put, is that Smith’s counter-narrative is dying because it is further away from the
visibility of Room 306. Room 306 is a part of a larger structure (the Lorraine Motel),
the spatial implications of the museum’s expansion project. The NCRM expansion of
multiple individual sites. Yes, Smith’s positioning did change. But even with the
expansion of the museum, her proximity isn’t necessarily executed. The widening of
the museum’s geographical layout still keeps Smith in proximity with these Civil
Rights sites. Traveling and exploring through these multi-sites becomes a part of how
bodies move through the various spaces. The environment plays a role in how
The relationship between spatial structures and the environment have to be examined,
because they shape rhetorical narratives and memories. The NCRM’s primary
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also plays a role in the visibility of Smith’s counter-narrative. Based on the pictures
taken in Armada’s essay, Smith is hidden by trees with foliage. Smith’s counter-
narrative is troubled by visibility, or the lack thereof. The very presence of her body
in the silent and vacant street during the daytime garnered attention. Because
within one block, Smith’s site becomes another Civil Rights site projecting a distinct
narrative. Location, climate, and weather cycles inform the environment and the
visitor’s parameters.
Armada positions visitors as lay adjudicators, who “may choose one side over the
other, while others may embrace both as ‘correct’ and will, therefore, experience the
site from multiple perspectives.”40 While I agree partially with Armada’s point, his
position seems to suggest that without Smith’s presence there isn’t a multiplicity of
memories. These binary-bound choices that visitors elect are valid when visitors have
no prior memories or relation to Civil Rights history. However, this site is abundant
with memories, because of visitors’ relationship to MLK and Civil Rights history. I
contest that Smith and the NCRM are not the only narratives informing this historical
site. Folks that lived during segregation, descendants of Black resistance, and others
disconnected with Civil Rights history interact with Smith and the NCRM
distinctively and differently. In what ways does Armada’s reductive view of memory,
place, environment, and visitors underplay the rich and complex multiplicity of
memory sites?
Armada simplifies the layer of spatial functions and how multiple, even contradictory,
memories can coexist with this MLK-centered site. He suggests that competing
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memories cannot survive in relationship with each other. I plan to explore how the
NCRM and Smith’s site exist in relation to one another and are sustained differently.
return to each Room 306. Soja’s Thirdspace will provide the theoretical framework to
rejects traditional spatial dichotomies. Where on the one hand, the Firstspace
works with spatial structure through mental and cognitive forms. Soja’s issue was
that spatial disciplines like Geography, Architecture, Urban and Regional Studies, and
City Planning, among other disciplines, tended to focus almost entirely on one mode
of thinking.
Soja rejects traditional spatial dichotomies. Soja considers Firstspace as “real” space
and Secondspace as “imagined” space. Soja argues that socialized or lived spaces are
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a combination or mixture of the real and the imagined. Thirdspace provides a new
way of looking and thinking about the same subject, “a sequence of never-ending
Spatial multiplicity is developed when human socialization and experiences affect the
space. The various social and historical conditions alter the function of the space.
Soja returns to Henri Lefebvre, Michel Foucault, and bell hooks’ spatial analyses.
the transdisciplinary term “triple dialectic.” Lefebvre argued that linking the
through the complexities of the modern world. Lefebvre was a trailblazer because he
chose space as his primary site of investigation. Lefebvre contributed to the field a
Michel Foucault and bell hooks’ spatial analysis are less prominent in relation to
Lefebvre, but both scholars contribute divergent ideas to Soja’s theoretical concept.
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disciplines. Foucault states, “Space is fundamental in any form of communal life,
which were singular spaces whose functions were different and opposing.44
contends that the margin is a space of radical openness. hooks’ scholarship illustrates
how a spatial configuration can deal with multiple forms of oppression and directly
sociality. Returning to San Francisco and observing bathhouses, Soja says that
Firstspace observes multiple spatial structures visible throughout the area, while
to prevent poor hygiene, and Thirdspace reveals that even after bathrooms were
placed in all living spaces, gay men frequented bathhouses to socialize, gossip, and
understand space.
Room 306 at the Lorraine Motel. While a narrative referencing the location of MLK’s
assassination connects each installation, Thirdspace reveals how each Room 306
intersects and diverges based upon each distinct social relationship. Soja’s trialectic of
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spatiality-historicality-sociality illuminates the multiplicity in real-and-imagined
sites are assembled in Memphis, Tennessee. The spatial structures are centered in the
heart of the South Main district in the in downtown Memphis. Based upon my visit on
January 19 and 20th of 2014, the four structures are 1) the Lorraine Motel, 2) the
Legacy Building, 3) the Freedom’s Sisters building, and 4) Jacqueline Smith’s protest
table. The motel is located at 450 Mulberry Street. Room 306 is positioned somewhat
centrally in the motel. Directly across the street from Room 306 is the Legacy
Building. The Legacy Building, Freedom’s Sisters building, and Jacqueline Smith’s
protest site are positioned on the same block across from the Lorraine Motel. While
the Legacy Building is in the center of the block, the Freedom’s Sisters building
entrance is located at 115 Hurling Street on the northern corner of the block, and
Smith’s protest site sits on the southern corner of the same block.
Secondspace reveals the interactions of distinctive groups of people. The hotel was
originally built around 1925. According to Ben Kamin, author of Room 306: The
National Story of the Lorraine Motel, it historically serves white occupants, but
during the 1960s began services upper class Black celebrities and performers. Due to
frequented this particular Mulberry Street motel due to its close proximity to Beale
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Street-- a street with numerous Blues clubs and famous musicians.46 After the death
of MLK and factory jobs left Memphis, the motel became the site of crime and low-
income renters. This history isn’t visible when visiting the site. Within Secondspace,
I observe how historical information on placards against the wall construct an MLK-
centered narrative with tourists’ memories. The spatial installations also allow
tourists to imagine the historical past. The Memphis MLK-centered sites consist of
interactions between tourists, employees, and residents. I will begin by discussing the
Lorraine Motel site. Tourists are not allowed into the motel site because the museum
is under renovation. An employee informed me that the renovation closure has been
extended until employees are versed in how to operate certain technical equipment.
Even though this portion of the museum is closed, tourists with museum-issued
tickets are able to climb the stairs to the second floor and look through the window to
view Room 306. The room has been preserved since MLK’s assassination. Tourists
Tourists move slowly as they stare at the motel. The employee sits, unfazed by the
the stairs to Room 306, the employee is nonchalant as he tells us we need tickets
purchased across the street at the Legacy Building. Groups of people are taking
pictures. We find ourselves standing in front of the Lorraine Motel. We separate into
small groups, whispering and taking pictures. “Precious Lord” by Mahalia Jackson is
played from unseen speakers along with a brief statement from the NCRM. Everyone
collecting in front of the motel can hear, “As you approach Room 306 and stand on
the balcony please honor the sacred ground in silence and listen to the hymn
“Precious Lord” sung by Mahalia Jackson at his funeral and reflect on the life and
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legacy of Dr. Martin Luther King, Jr.” With no breaks, the statement and song are
played continually. The statement tells witnesses how they should interact with the
importance in relation to civil rights. Tourists are told to honor, not just MLK, but
also the space, the sacred ground. Honor is reflected through our silence. Silence
Knowing that she sang this song at his funeral evokes a sense of grief and mourning.
My father tells me that he thinks about what he was doing when he turned eighteen
and found out MLK was murdered. My father talks about being a junior at Harlan
High School in Chicago. He was a work at the time. Being the only Black employee
at his job, he had to wait until he got home to talk about it with his sister.
Once on the second-floor balcony, tourists quietly standing in line take turns looking
into Room 306, taking pictures in front of the door, and/or looking back at the Legacy
Building. I notice the tourist in front of me staring into Room 306. The woman
positions the young girl with her in front of the room door. She adjusts the girl in an
attempt to take a picture with the girl and the 3-0-6 numbers. Tourists seemed to slow
their pace to look through the room window and take pictures by the door and inside
the room. While I was there, while tourists walked back and forth to and from Room
306, no one seemed to signify that they were walking across the location where MLK
The Legacy Building-a two-story boarding house where James Earl Ray allegedly
shot MLK in 1968- is across the street from Room 306. Tourists of all ages move
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slowly through the first floor. People mainly watch the historical recordings that
depict Memphian responses to MLK’s assassination. You must enter into the Legacy
Building to purchase tickets for all the museum sites. Entering through the front
doors, witnesses walk down a long pathway lined with illuminated pictures of Black
history from the 1600’s to the 1960’s. After purchasing our tickets from two NCRM
employees who sat behind a desk positioned in front of a wagon that a citizen used on
the Poor People’s March on Washington, we took the elevator to the second floor.
The silence on the second floor is broken by my father's comments. “You know I
remember that, I was seventeen or bout to be eighteen.” The man behind me begins
talking with my father; they both remember when King was assassinated. The
important installations on the second floor are James Earl Ray’s alleged getaway car,
a glass encased recreation of the bedroom and a separate installation of the bathroom.
There is a placard by the window across from Room 306 advising tourists to look at
the window from which Ray supposedly shot MLK.. Around the corner, the
centerpiece is Ray’s gun, recovered by the FBI, additional belongings of Ray are
dispersed around the gun. There is a Conspiracy Wall with questions and theories
about MLK’s assassination and a Global Civil Rights Wall with names of people like
Steven Biko and Kudurat Abiola, who fought for Civil Rights in other countries.
As you walk down the stairs to the first floor, on the other side of the ticketing
entrance, you see that the wall is aligned with historical timelines that include the
Voting Rights Act of 1964 as well as celebrities who have benefited from civil rights’
like Michael Jordan, Queen Latifah, John Leguzimo, Shaquille O'Neal, among others.
Tourists’ conversation is audible on this floor. There is small talk but no loud noise is
heard. People continue to walk in a line tracing the walls of information. At the end
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of the wall there is a “Transforming Memphis” timeline. The timeline ends with the
year 2000 stating, “AutoZone donated eight million dollars to the James Earl Ray
exhibit.” I was trouble by this detail. It was the end of the timeline. I was perplexed
about what events were missing from the timeline and why AutoZone’s corporate
sponsorship was so important. This notation reflects how corporate interests are
intertwined with this Black site of trauma. Around the corner from this wall is an
compilation of interviews and news recordings about the international fight for human
rights. Along the back wall is the Freedom Awards Wall where 60 awardees --
achievements.
The final section of the bottom floor is the gift shop, offering T-shirts, buttons, books,
movies, posters, hats, clothing items, and two cashiers. There are Room 306 key
chains surrounding the two cash registers. After exiting the gift shop, we follow the
group of tourists to the left, walking down the promenade on the side of the Legacy
Jacqueline Smith’s protest site exists on the southern corner of the Mulberry Street
us we should not support the museum and hands us flyers from her table. She gathers
people as they walk past the corner or take pictures under the iconic Lorraine Motel
sign across the street from her site. Smith was wearing all black. She was wearing
black sunglasses, head wrap, winter coat, pants, and shoes. Her demeanor was
reserved and quiet until I spoke to her. Once I informed her I was writing about the
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site, she was friendly and open to discussing her history and reasons for being on this
corner everyday. Smith wanted to be a reminder of the Black people that were
As Smith talks, she hands me books and newspapers on her table and points out the
signs. On the table is a copy of the book entitled, The Education of a Black Radical: A
upcoming MLK event at the Masonic Temple World Headquarters. There is a copy of
the The Memphis Flyer from November 8 to14, 2001. There are three signs on each
side of the table. On one side the sign states “See the homeless, it doesn’t mean they
don’t exist” and in bold red color against a white background, it says “Gentrification
is an abuse of Civil Liberties.” On the other side the sign reads, “MLK gave his life to
keep the dream alive. Civil Rights Museum spends 27 million to keep Negativity and
Violence Alive.” And the last sign has a picture of King above a pulpit, with his
finger pointing ahead. It states, “I tried to be right, I did try to feed the hungry, I did
try to clothe the naked, I tried to love and serve humanity.” While Smith’s site is not
a part of the NCRM, its bold colors under the iconic sign in the vacant area of
engages us. She wants to talk with us about current Memphian government practices
Due to the holiday weekend, my father and I passed numerous people. Near Smith’s
site I ran into a man holding a sign that said “I AM A MAN.” When I asked to take a
picture the man gladly obliged, he said, “Sure, you can, Young Brother.” Just by
being in the same place I was acknowledged as “Young Brother.” This term of
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was there. I was a part of a proclaimed racial unifying group. These sites articulated a
relationship with other visitors and tourists. One man, accompanied by his teenage
daughter, was interested in talking with my father about his Memphian history and
celebrating the idea that his daughter and I were learning and remembering this
all gathered at Smith’s table and the two of them talked about how the museum is
appropriating MLK’s legacy and profiting off his assassination. Smith pointed out
places where business have started up and driven people out. She tells us that the
museum evicted her and how she is an example how MLK advocated for the poor.
Thirdspace of the NCRM reveals three permanent buildings and one mobile yet
stationary table where tourists are able to learn about the past or recall their historical
memories. Imagined historical events, figures, and experiences are bound by the
spatial configurations that these people interact. Yet, whether the space functions as a
negotiation. Each of the four sites has a different thematic and contextual content.
The employees are not engaged with the tourists. Even though interaction between
residents and employees is observed, their distancing on the same block should be
noted. Neither the employees nor the residents mention each other’s presence. While
many residents were not visible, Smith provided an alternate perspective on the
NCRM. The space revealed historical conflicts between civil rights ideologies and
American citizens. The site also created a space to acknowledge the deadly costs of
such conflicts, through the preservation of MLK’s Room 306, and it revealed
contemporary conflicts between NCRM policies and judicial rulings and the
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displacement of Jacqueline Smith. Even the Freedom’s Sisters building suggested
leadership narrative.
racially-united community, and spaces which install a permanent site for historical
and contemporary struggle. These sites reconstruct Civil Rights history and expand its
temporal and geographical scope, while anchoring these histories around MLK’s
assassination site in Room 306. The museum sites reference cultural struggles and
conflicts, allow the space to hold contradictions. The ideological conflicts between
Smith’s site with the NCRM or MLK’s assassination with global humanitarian efforts
illustration the multiple narratives, memories, and histories within these sites. Even
tourists, and the political and cultural affirming residents also display a multiplicity
through Thirdspace. While the historic motel after his death is a site of trauma,
tourists taking selfies represent a celebratory and positive affect which distinguishes
Firstspace takes on a different aspect with scenic design for the stage because
theatrical production sites are by definition temporal and moveable. This spatial site
is temporal and placed on a theatre stage inside a theatre building. The set design
consisted of the interior of Room 306. There were two beds with a nightstand. The
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bathroom was located off stage. There were two sides of window curtains, even
though the historical motel room only had only side of window curtains. The door
was placed upstage right, even though the motel’s door was located stage right
upstage. This adjustment allowed for audiences to see actors’ entrances and exits.
The Mountaintop’s set design of Room 306 yields a different trialectic relationship
member for The Mountaintop at the Bernard B. Jacobs Theatre in New York City.
The referential Room 306 existed on the stage in the Jacobs Theatre. The theatre is
located in the heart of New York City’s Broadway district. Yet, The Mountaintop is
produced throughout the United States and premiered in London, England. In the two
Communication Groups (TCG) Top Five Most Produced Plays among over its 700
registered professional theatres. According to TCG, in the past two annual cycles,
this to suggest that while I focus on the Broadway production, it is noteworthy that
there have been at least twenty-five additional Room 306 spatial constructions across
Secondspace reveals the relationship between the artistic and productions teams and
spatial site functions as a theatre. The ushers, box office employees, and actors are the
only members of the artistic and production teams that interact with the audience. The
fact that stars like Samuel L. Jackson and Angela Bassett were in the production
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However, because this is the only site with celebrity actors, it does not account for its
multiple production contracts. The staging of The Mountaintop is a site for witnessing
this historic time in Black history and confronting our memories about MLK and the
movement. I remember vividly waiting outside the Bernard B. Jacobs Theatre in New
York for rush tickets. I was the first person in line at 8:00 a.m. but by 12:00 p.m. the
line stretched 1/3 of the length of a New York City block. The man standing behind
me in the rush tickets line drove with his wife from Maryland to see the production.
This was an event, not just a play. This was about our King, in a space that didn’t
normally reflect Black history or Black performance because of its perceived lack of
As each celebrity was visible on stage, he or she received applause from the audience.
But the most interesting moment occurred when Samuel L. Jackson “broke character”
by showing a disconnection from King’s attempt to flirt with Camae. Jackson held
back laughter because he had forgotten his line. As he continued his line, a man from
the audience shouted, “I know that’s right.” After the audience member made the
narrative.
informs the space. After the production my cousin and I ran to the back of the theatre
to purchase production t-shirts. On the front of the Black shirt written in neon yellow
it says “The Mountaintop” and on the back it says “The baton passes on.” The line
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"The baton passes on” was repeated in the play, as the character of Camae suggests
that MLK’s legacy will be continued after his death. The t-shirt also reflects the
commodification of King’s life and legacy. But that doesn’t fully reflect my intention
when buying the shirt. Buying the shirt was a way to remember this rare moment,
where on one hand, I was able to go to Broadway and witness a story critically
important to my community, and on the other, I was able to affirm that I may
and artistic teams. The set design signified a historical location that is defined by the
members engage with their memories as they view the set. Theatre functions to
entertain and connect related audience members. People are also able to interact with
actors that embody historical figures. Audience members are able to interact with
historical figures and contemporary celebrities. Within this space, celebrity culture
intersects with Civil Rights history. Theatre spaces become a temporary and mobile
spaces are commerce driven, however the hidden transcripts in the text also affirm
These replicas do not reference the same social positioning as the motel’s six-decade
history as a motel and abandoned building. The motel’s history during segregation
creates a different socialization of people in relation to the space. The motel’s history,
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segregation, integration, urbanization, and gentrification. The point here is that there
are many residents and guests’ narratives and histories that navigate this historic
motel. Depending upon your position to history and how you are socialized to know
the space, you can find different ways of reading Room 306-centered sites.
site. But tourists, residents, employees, audience members, and production and artistic
teams will relate directly to each other and the space based upon the site’s primary
function. While conflict does exist, it is the relationship between spatial structure,
historical position, and how people are socialized that shows the many different ways
The historic motel is known and framed by one date and one particular event. In
doing so, the motel’s narratives are reduced to a singular narrative. In framing the
motel around MLK, all tenants, employees, and the larger Memphis community
the displacement of Jacqueline Smith and the two-person play that is The
By viewing the spaces through Soja’s Thirdspace, Room 306-centered sites become
separate sites because of different spatial functions and different connections with
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relationship between real and imagined worlds. Soja’s reading is important because
he views spaces with multiplicity. hooks reads space as sites of resistance from the
developed a particular way of seeing reality. We looked from both the outside in and
from the inside out. We focused our attention on the center as well on the margin. We
conflicting politics from one site. Together, through Thirdspace, these Room 306-
centered sites become not only new spaces, but also hybrid spaces. They reflect
the ways in which space can produce multiple readings, I am curious about the
306 set.
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CHAPTER IV
EPISTEMOLOGY
The Mountaintop does reveal hidden transcripts and, also, illuminates how this
the epistemic implications of the production. In what ways can The Mountaintop be a
characters, King and Camae, and her theatrical representation of the Civil Rights
movement in her play The Mountaintop. In this examination I will argue that, on one
hand, (1) Hall’s revisionist project constructs challenging epistemic claims about
MLK and the Civil Rights movement. (2) And on the other hand, I will argue that
I will begin by summarizing Mills’s The Racial Contract and its implications for this
play. In The Racial Contract Charles Mills uses the framework of social contract
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justice, democracy, and freedom, while engaging in white supremacist practices that
distort, exploit, reduce, and appropriate people of color. Social contract theory
allowed Mills to investigate an origin story about how white supremacy developed
global ideals. Whereas global white historical narrative on the origins is rooted in
abstract ideals like democracy and justice, people of color map a non-ideal history
illuminate white supremacist practices. The Racial Contract, which has two
Mills argues that the social contract of Western political theory is for white folks. For
example, the opening line of the constitution, “We the People,”48 Mills suggests “we”
The first dimension of The “Racial Contract” (with quotations) is a critical lense that
political philosophers deploy to critique the state. Mills’s project exposes the
disconnect between imagined nonracial ideals of the social contract theory and white
attempts to bridge the gap between the real and ideal: on one hand, mainstream
European ethics and ideal political philosophy, focuses on abstract discussions about
justice and rights, and on the other hand, non-ideal political philosophy on Native
American, African American, Third and Fourth World political thought, focuses on
conquest, imperialism, colonialism, white settlement, land rights, race and racism,
race. Racial Contracts continually shift because racial boundaries are malleable.
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Whereas the “Racial Contract” maps disconnections between white and POC (People
of Color) political thought, the Racial Contract is about the contract enforced within a
distinct polity.
The Racial Contract has political, moral, and epistemic dimensions. Politically, Mills
is using social contract theory to give an account of the government’s origins and
citizen’s obligations to a particular state. The Racial Contract tracks a history where
raceless populations where defined as “white,” “Black,” and “Colored,” etc. The
contract facilitates moral codes that sanction human behavior. These raced identities
then have moral codes that govern. And the epistemic implications are socially
enforced cognitive norms that signatories follow. Mills suggests that signatories are
These myths become cognitively functional when white signatories believe them to be
true. I’m most interested in the epistemic dimensions of the Racial Contract. This
agreement permits signatories to know the world wrongly and to culturally affirm
these fabricated narratives as true. Whites have historically seen Africa as a country
full of savages and devoid of culture. White folks have taught themselves to see
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enslaved Black folks as property, de jure and de facto segregation as civil order,
lynched Black folks as entertainment, and burned Black bodies as souvenirs. These
memory, experience, testimony, and conception form a willful inversed reality.51 The
where signatories learn to see the world wrongly and benefit from it. Epistemology of
ignorance has its origins in feminist epistemology thought tracking ignorance was just
“ignorance should not be theorized as a simple omission or gap but is, in many cases,
I am most interested in Mills’ argument about the relationship between the Racial
Mills suggests that both historical revisionist projects and cognitive reform can
colonizing views of oppressed body. Writers, such as Frantz Fanon, challenge how
the oppressor and the colonized were understood. Fanon corrected how Black folks
were dehumanized at the expense of colonial superiority. I plan to explore how his
book, The Racial Contract, provides a framework for understanding the importance of
revisionist projects like The Mountaintop. By returning MLK about to the site of his
assassination, Hall corrects practices that remove MLK from his violent past. I am
practices that reposition MLK geographically and politically. Hall’s play returns
MLK corrects practices that mobile MLK sites, by returning him to the site of his
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assassination. Hall’s use of hidden transcripts operates as information to correct
they make visible historically erased counternarrative about MLK. Mills argues that
versions of history. Revisionist projects reveal the contradictions between ideal and
to project and advocate for unpleasant historical truths. Revisionist projects like The
Mountaintop challenge MLK’s relationship with ideal concepts like love, justice, and
democracy and project historical truths rooted in his historical practices of criticizing
the nation-state, civil protest, and Black resistance. Cognitive reform corrects
White signatories, or white folks who accepts a racialized narrative, know the world
wrongly for their own benefit. This makes me think about Martin Luther King, Jr.
and his relationship to America ideals. The incorporation of MLK monuments and
national holidays into national infrastructure and polity sanctioned events, silences
MLK from a history of Black resistance that challenged and critiqued American
have come to know King wrongly by associating him with the United States, even
policies record a different history of how he, along with collective movements,
challenged American practices and policies. The Racial Contract has appropriated a
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MLK devoid of his critiques on the American government.54 MLK reverential events
are devoid of how he challenged the United States dominant representation of ideals.
These events erase a MLK that stated, “…America has defaulted on this promissory
note insofar as her citizens of color are concerned. Instead of honoring this sacred
obligation, America has given the Negro people a bad check, a check which has come
supremacy. I will focus on the political and epistemic dimensions of The Racial
Contract in order to reveal how The Mountaintop projects a non-ideal history on MLK
and the Civil Rights movement. How does this play offer a revisionist history of King
I will begin by explaining how the Racial Contract and Hall revise narratives on
revisionist project. The Mountaintop takes place on April 3, 1968. On this date,
Martin Luther King (MLK)56 was visiting and speaking at the Masonic Hall in
Memphis, Tennessee. After his speaking engagement, MLK stayed at the Lorraine
protest on behalf of sanitation workers. This historical event and historical figure
because witnesses and spectators learn of a counternarrative about MLK and the Civil
again.”57 Due to the heightened tensions of the Civil Rights movement and the
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assassination of MLK, Hall’s production revisits this historical date, location, and
trauma in the cultural memory of Black folks. Halls’ work attempts historical revision
construction of MLK.
This particular revisionist project requires interrogation. When events and figures are
costumes, and set design, allow audiences to know the past by the way they see the
lighting, among other technical and artistic elements. These elements are what allow
spectators to literally see again. Yet, Hall incorporates hidden transcripts that produce
also able to hear again, feel again, and remember again. The revisionist project is
identified when witnesses learn information about MLK that is not included in other
reverential events. As mentioned in Chapter Two, David Gallo’s set design, for
example, was an artistic replica of the historical and preserved Lorraine Motel.
example of how revisionist projects are altered in theatrical spaces. Remember how
Soja’s Thirdspace creates new ways of knowing space because of the motel being a
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theatre space and historical site of Black memory. Also, reconfiguring the spatial
pattern alters how witnesses know and remember this historical space.
This contemporary performance can also distort historical reception. Hall stated, “I
want people to see this extraordinary man, who is quite ordinary, achieved something
so great that he actually created a fundamental shift how we as a people interact with
each other.”58 Hall concludes by stating her intent with the work was to have
audiences thinking, “…If this man [King] was so, so much a human being can
achieve such great things than I, as this complicated human being, can create great
alter how witnesses interact in our present day. Instead of documenting history for
the sake of knowing the past, Hall is recycling the past to impact and including new
performance of The Mountaintop continually shifts with each production. The people
that produce this production, at its various theatre sites, vary for each production. The
ways in which different contemporary folks, artists and audiences, interact with this
revisionist project will produce diverse ways of knowing, seeing, and learning about
this historic moment. The Mountaintop’s Broadway premier at the Bernard B. Jacobs
theatre in New York City will be experienced differently than the unlicensed
because the expectations and execution for artists and audiences will yield different
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performances of the same text. Each night can produce variables through the
conventions of theatre.
One, hidden transcripts produce an understanding of King and the Civil Rights
Hidden transcripts are more than encoded displays of dissent. Hidden transcripts
Mills states “historical revisionist” projects are one of a two-pronged solution toward
knowing wrongly.60
The Racial Contract rewrites and disseminates a sanitized version of MLK and the
Civil Rights movement so that white folks can proclaim an ideal national identity.
The Racial Contract has reduced MLK to palpable martyr disconnected from critical
positions on race, class, and the government as a militarized state. Hall is challenging
ideals of justice, democracy and freedom. By the ever changing and shifting racial
American ideals. However, MLK was both a challenger of the Racial Contract and
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segregation practices. Non-violent protest revealed the non-ideal realities during the
Chapter One, MLK’s figure was co-opted by white mythologies and appropriating
practices. The virtuosic MLK figure and nonideal experienced reality present
The Mountaintop? How could re-visioning this historic figure alter the way witnesses
understand his historical critiques on this polity? What are the larger implications of
The thinking of MLK as a stoic martyr does a disservice to the historical record
because it suggests MLK is an individual anomaly for social justice. MLK becomes
communities he worked with and advocated on behalf. Hall’s work humanizes MLK
to make him relatable as an agent of social justice beyond the 1960s. Hall is
re-read on April 3, 1968. This new reading has epistemic implications. Hall’s King is
humanized in order for audience members to relate with MLK and the Civil Rights
movement. Hall suggests that if audiences see themselves in King, they will consider
MLK for political use by making him apart of American practices even though he was
attacked and threatened for his beliefs. George Yancy states, “Blacks have struggled
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white fictions that racialized Black bodies as hyper-sexualized, savage, and
animalistic people. Yancy considers the ways in which Black folks are reduced to
support white fictions and real social practices that govern Black folks. In reference to
The Mountaintop, Hall disrupts traditional narratives on MLK, redefines his humanity
and transcends white fictions that mute physical and psychological sanctioned
violence. Hall, also, is included in a tradition of Black folks that challenge white
fictions. In many ways, Hall presents a MLK that exists within Black oral traditions-
Hall returns MLK’s historical figure back to a history of resistance. Hall includes how
government officials and a large population of white folks challenged the fight for
civil rights.63 However, because Hall’s play repositions MLK’s historical narrative in
“the Black body’s history in the ‘New World’ has been a history of resistance”.64
Yancy goes on to state, “to refer to the Black body as a site of resistance, I am
and repressive policies. When King challenges the United States government and the
brutality inflicted by Black folks during the Civil Rights movement, King is not a
Yet, MLK is not the only historicized reference under revision. The Civil Rights
movement is also under revision. Hall also revises the Civil Rights movement
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periodization. Hall’s play challenges a Civil Rights movement bound in time from
1954 to 1968 in the United States of America. When Camae reveals The
The Mountaintop is intertwined with are filled with cultural advancements and
struggles. In the play, before King accepts his fate, he asks Camae to reveal The
Mountaintop to him. In order to reveal The Mountaintop, Camae kisses King and
narrates historical events that flash before King’s eyes.65 The events transition from
MLK’s death into the future. Camae’s final epic monologue is filled with over ninety
events, people, and future projects after the death of MLK. Moving beyond anti-
assassination, like the riots in Memphis and Washington, D.C.66 It is interesting that
Hall inserts Bayard Rustin only by name. Because even though Rustin is a primary
organizer for the March on Washington, Rustin, an openly homosexual Black man,
existed on the periphery of the Civil Rights movement, because organizers thought his
sexual orientation and police record would compromise the reputation of the
movement.67 Bayard Rustin is acknowledged in the play along side the Stonewall
Riots, Bob Marley, Angela Davis, and political expatriate, Assata Shakur.68 Both
Black women and men are acknowledged in the struggle towards The Mountaintop.
Jeffersons, and Sidney Poitier, among others.69 While the previous section reflects on
social advances, Camae also speaks to gang violence, the crack epidemic, Marion
Berry, the Berlin Wall, and the end of the apartheid in South African.70
Hall’s cartography of resistance maps a different historical trajectory, while the Racial
Contract places MLK in relation to American ideals. Hall constructs a script that
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doesn’t consider April 4, 1968 the ending for MLK and the movement, but as a
beginning. While Angela Davis, Assata Shakur, and Jesse Jackson recall positive
Hurricane Katrina71 reference cultural events that cripple Black communities. These
communities venerable and exposed. With Black cultural memories after the
assassination of MLK, Camae sites cultural events that lengthen the journey towards
The Mountaintop. The mashing of progressive and repressive events maps a journey
toward Civil Rights that is bound in struggle. The assassination of MLK and the
passing of The Civil Rights Acts of 196472 are paramount events in the Civil Rights
movement. Propelling these events from the death of MLK, Hall places MLK in a
By lengthening time and geographical implications, Hall remaps not only MLK, via
King, but also the significance of Memphis and the Civil Rights movement. Hall’s
reframing provides a new way to understand this historical moment. Hall suggests
that we, witnesses, have not reached The Mountaintop. The last reference Camae
makes is “And Black Presidents!!!73 I suggest that Hall is moving beyond the
Black presidents. Hall places the conclusion of The Mountaintop beyond the
contemporary time that witnesses are watching the play because Barack Obama is still
Mountaintop. He states, “There it is. There. It. Is. A land where hunger is no more. A
land where war is no more. A land where richness is no more, poverty is no more,
color is..no more. Destruction …is no more. Only love. Radical, fierce love….”74
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Lengthening the scope of the Civil Rights movement reflects a cultural memory that
Widening the temporal and geographical scope of the Civil Rights movement also
destabilizes the center focus and iconic construction of MLK. When Camae tells
King not to worry about finishing what he started, Camae repeatedly states, “the baton
passes on.”75 Camae is informing King that he is but one figure in a lineage of Black
folks progressing towards our Promised Land. The references in Camae’s speech
include iconic events, and figures that have significant meanings in Black
communities. When Camae ends with “And Black Presidents,” she leaves space for
unknown people to take up the baton. This is a call to action to the witnesses in the
theatre that recognize the cultural value in Camae’s references. The witnesses are the
descendants of the Civil Rights movement. Witnesses are the people King has to
leave behind. By watching the play, witnesses have to confront MLK’s fate and the
By expanding the temporal scope of the Civil Rights movement in Camae’s final
monologue, Hall expands the political implications of this historical moment. In the
final monologue Camae mentions the falling of the Berlin Wall and the end of
Apartheid. Hall’s journey towards The Mountaintop included The Berlin Wall (1961-
1989.), racial conflicts in the United States, and the end of South African apartheid.
Revisionist projects are not only a way of correcting ignorance, they can also be a site
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intention and unintentional exclusion and inclusion of historical information. The act
complexity of history. Hall expands the trajectory of the Civil Rights movement, but
she also reinscribes a traditional narrative on the Civil Rights movement that is
critical interrogation this play can misrepresent history in its efforts to resurrect it.
explore how ignorance can be perpetrated when narratives are incorporated without
checking and questioning the communities the narratives reference . Mariana Ortega’s
essay, “Being Lovingly, Knowing Ignorantly: White Feminism and Women of Color”
provides clarity on how Camae is a theatrical device that enforces the troupe of Black
female violence and servitude, and secondly, in Hall’s efforts to globalize the scope of
MLK’s impact on the Civil Rights movement, she silences grassroots organizing
activism. Camae and the Memphian Civil Rights movement are victims of socially
constructed ignorance. In talking about what the play does in service to MLK, there
isn’t analysis of Camae. Camae represents what that play isn’t doing, she does not
receive the same historical treatment as King. Hall assembled historical information
and fabricated fiction in order to construct a story about MLK. This fabricated
and the Civil Rights movement. Ortega’s concepts of questioning and checking are
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I begin with an overview of Mariana Ortega’s project. In her essay, “Being Lovingly,
particular ignorance does not align itself with Third Wave feminism’s commitment to
diversity because women of color are known wrongly or reductively. Ortega begins
by discussing the ways white women feminists include women of color theory in their
scholarship. Ortega incorporates the scholarship of Marilyn Frye to suggest that “even
women are guilty of this arrogant perception toward other women, because they have
‘a mortal dread of being outside the field of vision of the arrogant perceiver.”76
scholarship so that white women are not perceived as ignorant. The main concern is
that women of color’ scholarship is being included to benefit white women. Audre
Lorde, Maria Lugones, and Elizabeth Spelman provide guidance and tactics against a
Loving, knowing ignorance is an alleged love and knowledge about women of color
and their scholarship. However, when white scholars do not question and check how
contradiction. On the one hand, white feminists love women of color’s theories, yet
on the other hand, are arrogant perceivers. Arrogant perceivers organize the world
based upon their own self-interests. Besides being ignored, ostracized, rendered
women of color exist in more subtle ways. In order to have a truly loving eye, white
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feminist must learn to look, listen, check and question.77 These four measures are
important, in relation to the play, to make sure that women of color voices aren’t
appropriated and reflect the communities they are writing about. White feminists are
perception because white women feminist are using women of color’s scholarship to
their own end. Secondly, white women are looking and listening to women of color’
voices in scholarship by not checking and questioning. The major harm is that loving,
Ortega’s essay suggests that full inclusion of women of color expand the resistive and
rigid boundaries of feminism. The 60’s remind women what it means to be lied to.
Women must remember history so that women don’t lie to themselves and each other.
Ortega concludes that white women feminist should check and question the
assumption about women of color lives after theorizing about them. While I do think
historical narratives outside Hall’s field of vision can produce a loving, knowing
Hall’s ignorance isn’t based upon race. It’s based on class and gender. How does
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women and lead witnesses and spectators towards ignorance? In what ways is The
Mountaintop a site of ignorance on gender, class, and community led activism? How
disenfranchise the political agency of Black women, through the character of Camae,
MLK’s significance.
comment, reshape, and challenge the historical date of April 3, 1968. King talks about
MLK’s historic speech at the Masonic Temple. Camae asserts that Black folks tired
of being attacked for protesting against unjust working conditions and compensation.
Camae suggests after King dies the baton will pass on. The character services the
need of her historicized narrative. In her earlier interview, Hall was explicit in her
attempt to revisit April 3, 1968 to reveal a MLK that was relatable and aspirational.
fictional and fabricated characters and dialogue. While the Broadway production
reviews focus on how Hall handles MLK, less attention is paid to the significance of
Memphis’s fight for civil rights. Camae deserves attention. How does she service
“Twenties, Lorraine Motel maid.”79 Camae enters the production as a maid working
at the Lorraine Motel sent to give MLK coffee. After discussing King’s sermon at
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Masonic Temple, Camae is asked not to leave because King wants her to smoke with
him. After King flirts with Camae, he receives a phone call and he “motions her to
stay”.80 Later King states, “C-c-can I ask you a question before you go? And you
promise to answer me open and honest?”81 King smokes another cigarette and
conversation moves from flirtation to the Civil Rights movement. It isn’t until the
“BOOM! BOOM! Crickle! CRACK!”82 of thunder and lightning where King panics
and loses his breathe. Sacred, Camae continually calls him Michael. Camae knows
King’s birth name. Assuming that Camae is an FBI informant he asks her to leave.
Soon he asks “WHO IN THE HELL ARE YOU?”83 To which the stage direction and
statements read as follows, “Camae blows on the end of a cigarette. It lights up. King
stands stunned. Looong aaaass beat. King: Wow. Camae: I know. Angel breath is
some hot breath.”84 Camae, as a fabricated character, exist in the service of King.
God, who is a woman has sent Camae to deliver King to the other side. If Camae does
violence. Even what we, witnesses, learn about Camae’s personal life is through her
“Honey, I’ve robbed. I’ve cheated. I’ve failed. I’ve cursed. But what I’m ashamed of
most is, I’ve hated. Hated myself. Sacrificed my flesh so that others might feel whole
again. I thought it was my duty. All that I had to offer this world. What else was a
poor black woman, the mule of the world, here for? Last night, in the back of an alley
I breathed my last breath. A man clasped his hands like a necklace ‘round my
throat….I hated him for stealing my breath…”86 While both King and Camae can be
perceived as both being servants, their servitude exists in binaries. King is celebrated
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as an iconic servant of the people who God commissioned an angel to prepare and
deliver him. Camae’s servitude is virtuous like King and does not warrant an angel to
prepare her. If fact, because of Camae’s actions she must render a service to God, in
play. On another level King and Hall focus attention on the sanitation workers and
ignore the violence enacted upon Black women. Camae is a Black women character
Camae services the play’s agenda to exhume MLK. Camae is, ultimately, dispensed
bringing coffee and cigarettes, and also she is a cosmic servant as an angel operating
on the behalf of God. Hall also deploys Black female violence, via Camae, as a
theatrical and entertaining device. I agree with cultural critic bell hooks that “…what
I found upsetting was the representation of the black female body…coded as sexual
servants, victims only, there to satisfy the needs of someone else…”87 While hooks
comments are in reference to the film 12 Years A Slave, her comments also apply to
The Mountaintop. Hooks challenges audience members at the New School to think
critically about what is done with the Black female body in film and theatre. Hooks
advocates for Black female characters in resistance, in order to liberate the Black
women’s lives.
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Hall’s harm is that Camae projects a knowing, loving ignorance on Black women
activism. In a loving manner Hall includes a Black woman character named after her
mother, who was a phlebotomist.88 Also, to be generous and fair to Hall, she does
construct a female character who challenges King’s view on the Civil Rights
movement and the conditions in Memphis.89 The issue here is the structure of this
attractions to her.
narratives on MLK during the Civil Rights movement in Memphis; Hall had the
Camae’s multiple servitude roles, as maid, prostitute, and angel, reinforce tropes of
Black woman servitude. There is archival information that suggests that prostitutes
did indeed frequent the Lorraine Motel. There is also information that suggests MLK
had extramarital affairs with prostitutes. My issue isn’t that Camae is a prostitute. To
be clear, my issue is that Hall does not produce hidden transcripts to advocate for
Camae’s humanity. Camae’s redeeming qualities are mythical. Camae is able to sooth
King, reveal the future, talk to God, and prepare King for his transition. All these
Camae’s character is complicated by her ability as angel, which she has to complete a
task for her sins to be washed away by God. Ortega’s advocating of checking and
about confirming information with the community you are addressing. Questioning is
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about intriguing how the representation of Camae, as a Black working-class woman,
Abernathy, Hall under-acknowledges the role of Black women. While men are
historically hyper-visible, women are visible only to the service of Black male
activism. King is a stressed out and burdened out-of-town leader, juxtaposed against
There is a particular ignorance about Black working-class women that are rendered
silent. Checking the historical record in Laurie B. Green’s Battling the Plantation
Mentality: Memphis and the Black Freedom Struggle reveals a countering oral
testimony of Sally Turner who protested the working conditions in the manufacturing
plant. “Turner recounted how she and other African American women workers had
generation of African Americans in the urban South to articulate and achieve a new
kind of freedom, freedom that would represent a genuine break from the daily
humiliations they associated with the oppressive rural relations of race, class, and
gender they had already abandoned. […] The dynamic relation between migration,
Americans to challenge the urban attitudes and practices that they identified as
barriers to freedom.”91 Green presents an oral history of the collective and organized
dissent of Black women’s voices that led to union organizing; union organizing that
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If Hall questioned the implications of Camae’s representation and checked with these
oral histories, Camae would not have had to be a fabricated and fictionalized
character. Camae, envisioned through the experience of women like Sally Turner,
liberates Black women from traditional roles of servitude and inactive civic
engagement. Resisting Black women become victims of historical amnesia. They are
forgotten and replaced with tropes on servitude and sexualization. This is not the only
Moving away from a particular character, I do want to engage how Hall lovingly and
ignorantly engages with the Civil Rights movement through the play. The activism in
Memphis ends up in the background of Hall’s play. The major harm is that Hall
of all people of color in Memphis. By rooting her play in Memphis and suggesting
that this city has international and trans-temporal implication, Hall reveals her love of
conviction. Even though her project was not a discuss Memphian activism,
illuminating the communal goals and activity are important to her goal. If Hall is
chiefly concerned about humanizing MLK, passing the baton on, and placing MLK in
a stream of historical events, then it would be important to acknowledge how the Civil
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Rights movement was advanced through men and women activism. MLK’s greatness
activists.
Protestors and community members have few references in Hall’s text. The first time
they are mentioned is when King comments on the low turn out the Masonic Temple.
To which Camae responds that folks are sacred of getting blown up. While they are
acknowledged they are constructed as afraid, which is understandable. The issue here
history before and after King. Later in the play, King references the rioting in Detroit
and the shooting of Larry Payne. The people that rioted in Detroit were considered
wild because they were looting and setting buildings on fire. Camae does provide a
counter-commentary, suggesting the people in Detroit were sick and tired. The rioters
because wild and uncouth when not following the tenets of King’s brand of non-
violent protest. As we continue through the play, Camae suggest after getting their
press ‘n curls ruined by fire hoses that folks are tired. And the last reference is in the
burning.” People rioted in Memphis due to King’s assassination. While I agree with
by fear and wayward violence. This construction reinforces a logic that affirms
MLK’s greatness. Yet, the issue here is in order to construct a King of virtue,
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Witnesses learn about protestors through their necessity for King, yet, King is a
conflicted leader of individual conviction. This is reflected when King pleads with
Camae to finish what he has started. Even Ralph Abernathy is out going to get MLK
some Pall Mall cigarettes, Abernathy a central organizer of the movement is reduced
to an errand runner within the confides of the play. As I will explain later,
Memphians protestors were organizing years before MLK or King brought national
visibility to their protests. Hall’s arrogant perception devalues the role of community
organizing and activism. Community activists are solely defined in relation to the
prevented.
Ortega’s checking and questioning can prevent arrogant perception. If Hall checked
While King is hyper visible, the activists are not visible at all. The activists only are
stream of activists. King is frustrated by the lack of community turnout. While King
community activism. In her quest to complicate MLK, vis-à-vis King, the community
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Returning to Green’s Battling Plantation Mentality, there is an acknowledgement of
community activism in Memphis. Green depicts Memphian activism ten years before
186,000 total registered voters in Memphis.”92 The voter registration drives were
organized to elect Black officials to Memphis’ all white delegation. Green says
“Three weeks after the rally, on August 20, 64 percent of Memphis’s registered voters
turned out to the polls, with many in heavily African American wards lining up before
7:00a.m. or casting ballots as late as 10:00p.m. Even though none of the Black elected
officials were elected, due to the dropping out of white officials that might split the
white vote, this one events reflects how Black folks organized to challenge their
socio-political lives. After the 1959 election, there was a renewed protest against
police brutality, labor organizing, and an eruption among voters’ rights among
sharecroppers and tenant farmers.93 Green goes on to state, “With the heavy
emergence of the student sit-in movement and its emphasis on ‘Freedom Now!”
young activists became exhilarated by their own role in what some referred to as
‘making history.’”94 These are just a few examples of Black resistance and political
Memphis, Hall could have constructed a narrative that placed MLK in dialogue with a
present and visible Memphian activist tradition. Hall had an opportunity to disclose
hidden transcripts that reposition MLK in context of Black community activism. The
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Memphian activism. The construction of community protest and activism is a form of
Camae speaking to King: “…You done brought us far. But you a man, among many
men and women. You just one man, many have started before you and will continue
after you. You’re not a God, though some folks say you got mighty close. “
Camae: The baton passes on. Train those after you to carry the baton on.
MLK only in relation to American ideals. Mills’s Racial Contract illuminates how
revisionist project, reveals how this performance challenges and produces a different
MLK and the geographical and temporal limits of the Civil Rights movement. The
Mountaintop presents new epistemic claims to knowing historical figures and the
construct a King that challenged white supremacy and white hegemonic practices.
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does indeed reclaim MLK back to a history of Black resistance with global
implications.
Hall’s revisionist work reinforces a social production of ignorance because the text is
centered on MLK, but comments on the Civil Rights movement. Ortega’s “Being
distort history, even in its attempts to restore and revise it. Witnesses can be ignorant
about on Black women, through the character Camae, and the omission of local
acknowledge select individuals and mute the accomplishments of many unnamed and
Camae with similar historical complexity as King. Also, Hall’s focus on King
reinforces MLK’s iconic significance. While Hall expands his significance, she
ignorance on King and his relationship to the Civil Rights movement. Acknowledging
revision in The Mountaintop. The hope is that this play reignites a conversation that
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CHAPTER V
CONCLUSION
The Mountaintop by Katori Hall is a drama of historical fiction that takes place on the
night of April 3, 1968 at the Lorraine Motel-the location of Martin Luther King, Jr.’s
assassination the next day. Because the play is referencing a historical date, location,
perspectives on Martin Luther King, Jr. and the Civil Rights movement. The night
shows King’s flaws in hopes that witnesses overcome their flaws and failures and
achieves their own best future. It is important to engage with the politics of
From the writings of Soyina Colbert, it appears that The Mountaintop is an act of
cultural intervention and transmission that gives voice to forgotten histories on the
Civil Rights Era. My investigation heavily intersects with the work of Soyinca
Colbert. Colbert’s The African American Theatrical Body straddles literary texts and
The goal of my thesis was to illuminate the implications of a play about a historical
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character and time during a contemporary moment. I utilized both textual analyses of
the play’s text and my experiences as a witness at the 2011 production at the Bernard
B. Jacobs Theatre in New York City. Colbert suggests that Hall’s work “the play
calls attention to the struggle in the historiography of the civil rights movement over
how to position King regarding his legacies and then how to position him in relation
movement. I would contend that Hall’s work does call attention to historiographical
2011 Broadway production were two years before I begin this journey to write on this
play. While I have talked about those events on numerous occasions, I did not record
my experiences in writing form. My memories, like all memories, shift, refocus, and
even forget. In the future I will write down my experiences at a performance because
I don’t know if I’ll return to write on a topic. Also, my analysis does not heavily
There are specific limitations with each chapter. Within Chapter One, it will be
important to discuss how the public declaration of hidden transcripts may not adjust
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is framed around this relationship between hidden transcripts and practical acts of
have not witnessed how these hidden transcript inform practical resistance. Within
Chapter Two, due to renovations of the National Civil Rights Museum, the museum’s
investigation. If I develop the second chapter I will return to the museum’s archives to
expand historical analysis of the Lorraine Motel from the 1920’s to 1968. In Chapter
Three, I wanted to explore how Katori Hall is an arrogant perceiver because instead of
historical event, location, and figure to comment beyond historical conditions into
contemporary and future events. Also, do to the findings in Chapter One; I will study
Mountaintop is reread and understood. The play will generate new meanings as long
on how Black theatre creates a space to archive Black history. It is also critically
continue with this project I would look into how dramatic structure reduces historical
authenticity.
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The Mountaintop is a site of resistance that references a historical time, location, and
James C. Scott’s concept of hidden transcripts to reveal how the play was a site of
resistance against dominant transcripts on Martin Luther King, Jr. The public
and hidden transcript and humanize Martin Luther King, Jr. by exposing his flaws. In
the second chapter, I deployed Edward Soja’s theory of Thirdspace to challenge the
historical authenticity of the Room 306 replicas-the set design and the National Civil
Rights museum. Through Thirdspace I was able to discover how the set design, as a
geographical and spatial structure, is socialized by people differently then the other
Room 306 references. Chapter Three takes on the space and the text to uncover the
investigated how Hall’s play produced knowledge and ignorance. I return to the
artists don’t question and check the alternative histories on Black women and
implications of remounting historical narratives in Black drama? Are there direct and
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the text and the body in contemporary performances of the historical past in Black
drama?
I think this initial inquiry can lead into analyzing the implications and importance of
remounting Black works in performance. While there are copious plays that intersect
this topic like the all-Black cast of Williams’ Cat On A Hot Tin Roof. I think this
topic even intersects in film. For example, What’s Love Got to Do With It, The Butler,
The Help are historical fictions in film that challenge and resist historical
understandings. The hope is that this thesis can be placed in conversation with other
transmission, suggest that Hall’s play removes MLK from his hierarchical position;
advocating for audience members to pick up the baton for civil rights. Yet, Colbert’s
assertion that Camae foregrounds women in the movement requires questioning and
checking. Camae shouldn’t be read as a co-star of the Civil Rights movement, by way
of The Mountaintop. Checking and questioning would also consider if Camae should
be read in relation to the sexual violence victims in Danielle McGuire’s At the Dark
Ortega’s checking and questioning challenges her analysis of Camae as a leader of the
King. Camae’s experiences were not validated in the presence of King. Camae’s
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violence was overshadowed by King’s approaching assassination. When Camae tells
King about the violence she endured, King’s immediate response was “Will I die at
the hands of a white man, too?”96 When King heard about Camae’s violent death, he
thought about himself and not Camae or other women that were victims. While it is
opportunity to engage in how the play misreports and destabilizes historical narratives
that undermine Black women’s activism. Ortega’s checking and questioning would
challenge tradition literary analysis considering how Camae reflects the lives and
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FOOTNOTES
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1
Soyica Diggs Colbert, "Black Leadership at the Crossroads: Unfixing Martin
Luther King Jr. in Katori Hall's The Mountaintop," South Atlantic Quarterly, no. 112
(2013): 261.
2
Katori Hall, The Mountaintop (New York: Dramatists Play Service, 2012),
xi.
3
Michiel Arnoud Cor de Vaan, Etymological Dictionary of Latin and the
Other Italic languages (Leiden: Brill, 2008), 62.
4
Colbert, 267.
5
Colbert, 267.
6
Harry Justin Elam, The Past as Present in the Drama of August Wilson. (Ann
Arbor: University of Michigan Press, 2004), xi.
7
Daphne Brooks, Bodies in Dissent: Spectacular Performances of Race and
Freedom, 1850-1910 (Durham: Duke University Press, 2006), 3.
8
Brooks, 4.
9
Linda Alcoff, "Epistemologies of Ignorance: Three Types," in Race and
Epistemologies of ignorance, eds. Shannon Sullivan and Nancy Tauna. (Albany: State
University of New York Press, 2007), 38-58.
10
Alcott, 43.
11
Hall, “The Mountaintop,” x.
12
Hall, “The Mountaintop,” x..
13
Robin D. G. Kelley, ""We Are Not What We Seem": Rethinking Black
Working-Class Opposition in the Jim Crow South," The Journal of American History
vol. 80 (1993): 75-112.
14
James C. Scott, Domination and the Arts of Resistance Hidden Transcripts
(New Haven: Yale University Press, 1990), 198.
15
Scott, 198.
16
Hall, “The Mountaintop,” xiii.
17
Scott, 199.
18
Scott, 210.
19
“Katori Hall on The Mountaintop,” YouTube,
http://www.youtube.com/watch?v=k8TqdNQ9_rc (accessed March 12, 2014).
20
"Foundation Statement For the National Mall and Pennsylvania Avenue
National Historic Park," National Mall Plan: 1-12. (accessed April 14, 2014).
21
Gerald A. Danzer. "Civil Rights." In The Americans. Student's ed. Evanston,
IL: McDougal Littell, 2003), 904-19.
22
Danzer, 925.
23
Katori Hall, Katori Hall Plays (London: Methuen Drama, 2011), 218.
24
Hall, “Katori Hall Plays,” 223.
25
Hall, “Katori Hall Plays,” 191.
26
Hall, “Katori Hall Plays,” 192.
27
Hall, “Katori Hall Plays,” 211.
28
Hall, “The Mountaintop,” xv.
29
Hall, “Katori Hall Plays,” 224-225.
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30
Hall, “Katori Hall Plays,” 206-07.
31
Hall, “Katori Hall Plays,” 205.
32
Hall, “Katori Hall Plays,” 219-20.
33
Hall, “Katori Hall Plays,” 201.
34
Hall, “Katori Hall Plays,” 230.
35
Hall, “Katori Hall Plays,” 249.
36
Bernard Armada, "Memory's Execution: (Dis)placing the Dissident Body,"
in Places of Public Memory the Rhetoric of Museums and Memorials, eds. Greg
Dickinson, Carole Blair, and Brian Ott (Tuscaloosa: University of Alabama Press,
2010), 219.
37
Armada, 222.
38
Armada, 231.
39
Armada, 216
40
Armada, 233.
41
Soja is referring to “the deconstruction and strategic reconstitution of
conventional modernist epistemologies.” Edward W. Soja, Thirdspace: Journeys to
Los Angeles and Other Real-and-Imagined Places (Cambridge, Mass.: Blackwell,
1996),3.
42
Soja, 9.
43
Soja, 7-8.
44
Soja, 149.
45
Soja is referencing bell hooks’ Yearning: Race, Gender, and Cultural
Politics (1990) Soja, 12.
46
Ben Kamin. Room 306: The National Story of the Lorraine Motel (East
Lansing: Michigan State University Press, 2012), 3.
47
Soja, 100.
48
The Constitution of the United States of America. (Bedford, Mass.:
Applewood Books, 1995).
49
Charles W. Mills, The Racial Contract (Ithaca: Cornell University Press,
1997), 4.
50
Alison Bailey, “Strategic Ignorance,” in Race and Epistemologies of
ignorance, eds. Shannon Sullivan and Nancy Tauna. (Albany: State University of
New York Press, 2007), 80.
51
Bailey, 80.
52
Reference pages 15-18 for an overview on Social Epistemology in the
Introduction Review of Scholarship Section (Eiland, 2014).
53
Nancy Tuana, "Coming to Understand: Orgasm and the Epistemology of
Ignorance," Hypatia, no. 19 (2004): 195.
54
Reference pages 21-37 in Chapter Two about Hidden Transcripts (Eiland,
2014).
55
Martin Luther King and James Melvin Washington, A Testament of Hope:
the Essential Writings of Martin Luther King, Jr. (San Francisco: Harper & Row,
1986), 219.
56
MLK will refer to Martin Luther King Jr.’s historical figure. King, the
theatrical representation of Martin Luther King, is the fictional character in Katori
Hall’s The Mountaintop.
57
Arnoud Cor de Vaan, 33.
58
“Katori Hall on The Mountaintop,” YouTube.
http://www.youtube.com/watch?v=k8TqdNQ9_rc (accessed March 12, 2014).
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59
Ibid.
60
Mills, 18.
61
The photo of Emmitt Till’s open casket, televised recordings of Black folks
marching and being forcibly moved by high-pressure water hoses, and the
documentation of lynched Black folks are three examples of government sanctioned
events that showcased the ugliness of America. Steven Kasher, The Civil Rights
Movement: a Photographic History, 1954-68 (New York: Abbeville Press, 1996).
62
George Yancy, Black Bodies, White Gazes: the Continuing Significance of
Race (Lanham, Md.: Rowman & Littlefield Pub., 2008),110.
63
Hall, “Katori Hall Plays,” 211.
64
Yancy, 111.
65
Hall, “Katori Hall Plays,” 211.
66
Hall, “Katori Hall Plays,” 211.
67
Steve Hendrix, "Bayard Rustin, organizer of the March on Washington, was
Crucial to the Movement". The Washington Post, August 21, 2011.
68
Hall. “Katori Hall Plays,” 244-47.
69
Hall. “Katori Hall Plays,” 244-47.
70
Hall. “Katori Hall Plays,” 244-47.
71
Hall. “Katori Hall Plays,” 244-47.
72
Robert H. Mayer, The Civil Rights Act of 1964 (San Diego: Greenhaven
Press, 2004), 244.
73
Mayer, 247.
74
Mayer, 248
75
Mayer, 244
76
Mariana Ortega, "Being Lovingly, Knowingly Ignorant: White Feminism
and Women of Color," Hypatia, vol. 21 (2006): 59.
77
Ortega, 60.
78
Ortega supports her claims with the scholarship of Donna Haraway. While
Haraway shows interest in women of color’ experiences, she does not check and
question how her reading on the re-appropriation myth of La Malinche. Haraway’s
reading on the myth does not align with the community it comes from. Within
Chicano feminist circle the myth is controversial and contested. Haraway’s example
reflects the dangers that exist with even the most well-intentioned white feminists.
Ortega, 61.
79
Hall, “Katori Hall Plays,” 190.
80
Hall, “Katori Hall Plays,” 198.
81
Hall, “Katori Hall Plays,” 200.
82
Hall, “Katori Hall Plays,” 217.
83
Hall, “Katori Hall Plays,” 222.
84
Hall, “Katori Hall Plays,” 222.
85
Hall, “Katori Hall Plays,” 242.
86
Hall, “Katori Hall Plays,” 241-42.
87
“bell hooks - Are You Still a Slave? Liberating the Black Female Body,”
YouTube, http://www.youtube.com/watch?v=rJk0hNROvzs (accessed May 5, 2014).
88
"Q&A With Katori Hall." The Juilliard Journal,
http://www.juilliard.edu/journal/qa-katori-hall (accessed August 2, 2013).
89
Camae challenges King in The Mountaintop by suggesting that Black folks
are tired of non-violent marches. Black folks are looting and rioting because it is
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considered a more effective tactic against marching. Camae challenges the very
political ideology of MLK’s non-violent marches. Hall, “Katori Hall Plays,” 206.
90
Laurie B. Green. Battling the Plantation Mentality: Memphis and the Black
Freedom Struggle (Chapel Hill: University of North Carolina Press, 2007), 1.
91
Green, 2.
92
Green, 216.
93
Green, 218.
94
Green, 218.
95
Colbert, 242.
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Brentley, Ben. “April 3, 1968. Lorraine Motel. Evening.” The New York Times,
October 14, 2011.
Colbert, Soyica Diggs. "Black Leadership at the Crossroads: Unfixing Martin Luther
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Danzer, Gerald A., and Littell McDougal. The Americans. (Evanston, IL: McDougal
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Dickinson, Greg. Places of Public Memory the Rhetoric of Museums and Memorials.
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Elam, Harry Justin. The Past as Present in the Drama of August Wilson. Ann Arbor:
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“Foundation Statement For the National Mall and Pennsylvania Avenue National
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Struggle. (Chapel Hill: University of North Carolina Press, 2007).
Hendrix, Steve. "Bayard Rustin, organizer of the March on Washington, was crucial
to the movement". The Washington Post, August 21, 2011.
Kasher, Steven. The civil rights movement: a photographic history, 1954-68. (New
York: Abbeville Press, 1996).
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