The Lost Testimonios of Latina/x Youth
Stories compiled, co-constructed, and composed by
Ashley D. Domínguez & Participants
ACKNOWLEDGEMENTS
The Lost Testimonios of Latina/x Youthwas given financial support through The National Academies of Sciences, Engineering, and Medicine Ford Foundation Fellowship. The ethnodrama was based on doctoral research conducted at the Mary Lou Fulton Teachers college and Arizona State University, which was approved by the university institutional review board. Appreciation and acknowledgement extend to my community partners, artists, and activists, Estrella Theatre Company, for believing in my vision and making this study possible. Especially my brilliant colleagues Eve, Luz, Jade, Pat, Xenon, and Leah. I express my sincere gratitude towards my stellar dissertation committee, Dr. Melanie Bertrand, Dr. Carrie Sampson, Dr. Stephani Etheridge-Woodson, Dr. Blanca Chumbes Caldas and Dr. Julio Cammarota.
CONTACT INFORMATION
All rights to produce, film, record in whole or in part, in any medium or language by any group, amateur or professional, are retained by the author. If you are interested in obtaining permission to produce this play, please contact Ashley D. Domínguez, ashddominguez@arizona.edu .
SETTING
Contemporary. Somewhere in the southwestern region of the United States.
MAIN CHARACTERS
JADE Witty, outspoken, Chicana, She/Her, 16-year-old female, identifies as bisexual, visual and performance artist
LUZ Leader, thoughtful, Mexican American, she/her/they, 20-year-old female, identifies as bisexual, writer, poet, actress
EVE Compassionate, confident, Latinx, she/her/hers, 24-year-old female, identifies as straight, dancer and artist
LEAH Sensitive, smart, Hispanic, she/her, 14-year-old female, identifies as straight, musician and actress
PAT Quiet, tomboy, biracial, she/hers, 16-year-old, visual artist and actress
XENON Eccentric, Hispanic, they/them, 14-year-old, they/them, identifies as gender queer, artist
SUPPORTING ROLES
ADULT 1
STUDENT 1
DANCER
WHITE MALE 1
WHITE MALE 2
AMY
NANCY
DOLORES
SILENT SCENE #1
(Begins with the sound of the school bell. Students emerge from what seems like their classrooms, with backpacks, books in their hands and wearing N-95 masks as they walk from stage right and stage left. Everything appears to be a typical school day. One poster on the wall reads “Sign Up for the High School Social Justice Coalition!” All actors exit.)
SCENE #2: WELCOME TO THE SHOW
(There are six school desks with a chair behind each spread out across backstage. A powerpoint screen is located on the stage left.)
EVE
Bienvenidos! Welcome mi gente! Thanks for joining us at the show!
LEAH
Show? I thought it was a presentation. (whispers out of the side of her mouth)
EVE
Well, it’s both really. To be specific, it’s a dissertation performance about Latinx youth artivist-researchers.
JADE
Wait, what’s that?
EVE
That’s you, loca. Latinx, you know, the non-gendered term to describe anyone from a Latino or Hispanic descent.
JADE
Duh, I know what that is! The other one…arti–?
LUZ
Artivist-researcher. It’s someone who identifies as an artist, activist, and researcher.
JADE
(looks towards an audience member) Oh, sí soy yo…that IS me. (flips hair)
EVE
Te dijé. (rolls eyes)
PAT
Anyway (with attitude)…we’re here to share our stories and teach you all about how we use art to learn about and address social injustice, but also to discover ourselves and who we are. We better get started. My mom is cooking Pozolé tonight and I have to be first in line. (rubs belly)
EVE
Well before your Pozolé dreams come true, we have an introduction, a literature review, methodology, and conclusion to get to.
LUZ
I’ll start with the title “Arts-based Youth Participatory Action Research: Latinx Performances of Embodied Identity and Transformational Resistance.”
XENON
(runs on to stage late) Hey everyone, sorry I’m late. I was practicing for my solo for the school recital. Wanna see it?
(begins belting a ballad) Como la flor, con tanto amor, me diste tu… ay ay ayyy como me duele.
ALL
Shhhhh!
JADE
No they didn’t come in hot with the Selena.
XENON
What? (looks confused)
ALL
(points to audience)
XENON
(embarrassed) Oops. Hi. (waves comically)
EVE
Wait, hold on a second. Xenon has a point. We’re all artists right? Let’s use our artistry to show what we know!
PAT
YASS! I have an idea, let’s play genre!
SCENE #3: DISSERTATION INTRODUCTION
(The characters begin to speak each portion of the introduction in a distinct voice to match their assigned genre category. For example, action movie trailers, British accent, valley girls, soap opera, blizzard, hippies, New Yorker ET.)
LEAH
What’s that?
PAT
We will take turns calling out a genre of speaking. Then each of us will take turns reading the dissertation introduction in that specific voice genre. Get it?
(actors can call out voice genres based on casting and voice abilities)
ALL
(calls out voice genre)
LUZ
(in genre voice called out by youth artivists) Youth, especially youth of color, have been historically marginalized and perceived as inferior due to their age which positions them at the bottom of oppressive social hierarchies that constrains youth voice in decision-making processes.
ALL
(calls out voice genre)
JADE
(in genre voice called out by youth artivists) However, youth participation in social justice initiatives have proven to be a viable approach to support youth embody transformational resistance – a desire for social justice and the ability to critique oppression towards the transformation of systems and institutions.
ALL
(calls out voice genre)
EVE
(in genre voice called out by youth artivists) For instance, research indicates the benefits of fusing art into social justice-focused inquiry projects with young people such as activating the imagination, elevating understanding of injustice and anticipating change, nurturing identity construction, rehearsing scenarios for future action, and fostering healing.
ALL
(calls out voice genre)
LEAH
(in genre voice called out by youth artivists) The purpose of this critical performance ethnographic study is to discover how youth perform their multidimensional identities to embody transformational resistance in a multigenerational theatre company and arts-based youth participatory action research project.
ALL
(calls out voice genre)
XENON
(in genre voice called out by youth artivists) Also known as YPAR. Arts-based YPAR is a research project grounded in critical theories that invites youth to examine social problems that affect their lives using artistic methods and then take action to address them.
ALL
(calls out voice genre)
PAT
(in genre voice called out by youth artivists) During arts-based elicitation and semi-structured interviews, participants, or us (giggle), were asked to explain how we made sense of being a Latinx youth artivist-researcher.
ALL
These are our stories.
All actors exit stage left and right except EVE.
SCENE #4: “WHAT MAKES HER”
EVE
(to audience) I write a little bit of poetry. (gestures to her journal) Would you like to hear some?
(waits for the audience to respond)
EVE
The title is “What Makes Her”
(pause)
energy, matter
I am everything
But nothing at the same time
i am woman in the physical flesh,
but i embody the energy
of the masculine and feminine
past the rest
Of what you see on the surface
brown skin,
brown eyes,
brown curly hair- hey keep your eyes on mine
Because my curves and my sway
Doesn’t give your immediate power to display
your perception
Of what you think you’re entitled to display
I’ll relay this message to those
that deceive
the strength of a woman
and what makes her.
be nothing but everything at the same time
she’s energy and she matters
You’ll see
–Written by EVE, 10/07/2021
SCENE #5: CHARACTER DEVELOPMENT/MONOLOGUE MONTAGE #1
(The rest of the cast enters clapping for EVE.)
XENON
YAS QUEEN! Let’s give it up for my girl Eve, killing it with some spoken word!
PAT
As she should. (slow claps)
EVE
Yeah I thought I’d prepare a little something for today. Hit you with that live poetry reading.
LEAH
Do you think they (pointing to the audience) get why your words are important to us?
ALL
(look at audience)
JADE
Hmm. Touché. Maybe it’s time we start to tell them some of what we said when we were interviewed on– (goes blank)
XENON
(interrupts) Zoom.
JADE
Yes, of course. Zoom. How could I forget, we all basically lived the past two years of our lives in the Zoom box. #COVID19.
LEAH
Let’s do a check-in question shall we? We can go around and take turns sharing. How about we each say name, pronouns, and a little bit about your identity and who you are.
(The actors sit across backstage, each with their own desk and chair.. Each actor will have a laptop as if in a Zoom meeting. Each actor will present snippets of their monologue, but will freeze when it’s the other actor’s turn to speak. To transition, all youth will make the sounds of Zoom chatter for five beats in the background until the next actor stands to speak.)
(Zoom chatter)
LUZ
Hi, I’m Luz. She/hers.
yeah um so I have my mom and dad and then,
I have three siblings my younger sister and then two older brothers
let’s see yeah I went to an arts high school,
and that’s kind of how I started getting into arts more
specifically theater, I did theater a lot.
And then poetry, and then that’s when my friend had introduced Estrella Theatre
and that’s when I like started coming
which was all new to me because I’ve never been in a space where I could contribute
to making art about social justice and I’m like– things that I’ve never did before,
(Zoom chatter)
JADE
(responding) Um well, my name is Jade. I use she/her/hers pronouns.
I was born and raised here
so I’ve been here like my whole life.
And what I– what has led me to where I am now.
I think of just the culture I’ve been surrounded with
I mean I’m sure you know by now I’ve talked about this a bunch–
my parents are all artists, my mom is an artist, my dad is an artist and my grandpa is an artist.
(Zoom chatter)
PAT
So you probably already know my name, I know, but my name is Pat. She/Hers.
And then I– see, I am 16 years old, 17 in October.
I attend high school, I will remain there until–until senior year so I’ll be doing that.
I am aspiring to go into a medical based career,
since I want to help–help people in a way.
So my hobbies are just drawing
doing or both–both on paper and digital so and
Then also one for watching movies, listening to music so.
Um well, I do consider myself biracial because my-my dad is certainly from Mexico
so again, is–it is Hispanic roots from there
and then my mom was born here in the US
(Zoom chatter)
XENON
I’m Xenon. They/them.
Sometimes I like to go by Zena um since not a lot of people can pronounce my name right.
I come from the Southwest.
I am part of a Hispanic-European family.
Um.
Oh boy.
I think– the most important parts about my identity.
That’s a really good question.
I know some people like confuse me for white or American sometimes
you know I don’t really mind
but it’s better to get it correct rather than assuming.
(Zoom chatter)
EVE
Yeah, so oh man…
I’m Eve. She/her pronouns.
So um I am born and raised in the Southwest,
and I am Hispanic and Mexican American. Both of my parents are Mexican American.
On both sides, I do know that my–my grandmother on my father side is from Mexico
my grandfather’s also from Mexico, and my great grandmother is from Italy.
And my great grandfather, I believe, is from Spain on my father’s side
On my mother’s side, I don’t really more know more so, about like where they were from,
but I am aware that I do have some Latinx, of course,
and some Italian mix within me somewhere
and so aside from that, though I am currently 24 years old
I grew up really just actually being really into music at first
and then eventually as time went on,
I took to dance
and the main reason for that I think is because of the fact that, as a child,
I did go through a lot of trauma
like there was certain situations in my life that I dealt with as a child
that were a form of abuse, in a sense, or assault.
(Zoom chatter)
LEAH
Hello I’m Leah. She/her/hers.
um well I lived in Texas since maybe I was eight and then I moved to Arizona.
And I actually had to leave my great grandma behind and my grandma
basically, my whole family over there,
so but moving here was a good experience,
because I didn’t really know much about living life in Texas, because
I wasn’t taught a lot of things there like how I am here.
and especially the culture here is different from the culture in Texas for sure.
it’s more open and out to different–different people, I guess.
And Texas is more conservative, and we’re closed like sticking to one idea, the whole time.
My mom just wanted a new life, like a fresh start.
(Zoom chatter)
LUZ
Because you know in high school, theatre is all about like oh Shakespeare or stuff like that and
performing in regular theater spaces versus like
When I first joined it was very new to me because you know
one, it was on the light rail and I’ve never done anything like that.
And like being a part of Estrella Theater has made me grow tremendously
and I’ve learned so much over the course of the years.
And sometimes I still feel like it’s still new to me but um it’s–it’s awesome
like I’m really grateful that I’m able to be a part of that space,
because I think it’s changed for the better now,
but now looking back, I was like yeah like I’ve gotten a lot, especially in my leadership skills which has helped me perform so well.
(Zoom chatter)
JADE
I’ve grown up completely surrounded by the arts
specifically Chicano art is what I have like witnessed and
I just know, like so many artists in the area,
and I think that–that experience has definitely mode–molded me to the most, like who I am now.
um so I guess, yeah that’s–that’s what I think has made me who I am
I–I’m an artist myself, I’m not a visual artist like my parents,
but performing artist and I’m interested in the same like
political topics they choose to do art about and
that’s yeah, my biggest inspirations.
(Zoom chatter)
PAT
(responding) um, I think, because most–because when it comes to like filling out those forms where it’s like, “what race are you?”
I’ve always been so confused because
Because like– I would look at my skin tone, and I would think maybe maybe
I’m probably like, when people see me, I’m practically Hispanic or something
Right and–and because I only speak mainly English
but I’m–but I’m like learning Spanish, so to say, so it’s–
So it’s kind of like I’m bilingual but I’m kind of still working on Spanish
so see I’ve always just been so confused as to what identify racially
and so from there when I figured out particularly like
what kind of–what kind of like race to identify as from there.
(Zoom chatter)
XENON
Both my parents
come from Mexico, come from families from Mexico.
Like my grandmother, for example
She is native
I think, is the right word, but she speaks Spanish fluently, not really English.
But she comes from a family of natives and then that’s passed down to my mother
and then my dad is from Mexico
he previously became a US citizen a few years ago.
(Zoom chatter)
EVE
That kind of led to me needing an outlet and at first like as a kid you don’t think like
oh I’m choosing dance because of this, I went through this and I need an outlet.
where really to me was like I just I used to watch music videos and MTV all the time
and I used to like be obsessed with like the dance breakdowns
and I always tell my family like that’s gonna be me like I want to be on that music reality TV.
But as a kid, the more that I realized, when I was dancing
I felt like I was always releasing something that was bigger.
That I didn’t really understand because, of course, as a child,
trying to maneuver through that trauma wasn’t something
that I really had the opportunity to do
I didn’t seek therapy at home,
I kind of just was encouraged to just move forward with my life and,
as I got older that’s where–in middle school and high school,
I still continue to do music and dance
once I got to high school that’s where I became really aware that dance was something that I was always going to do for the rest of my life.
(Zoom chatter)
LEAH
I’m an artist
I can make musical art.
yeah I play music and I could sing too.
I started in church, when I was very young, my grandma actually owns a church okay
my grandma would make me sing.
And I’ve just been singing like for a very long time now,
ever since I was a little girl and I’ve just never stopped
(Zoom chatter)
LUZ
Yeah more more about my background
yeah so my mother is like French and.
She’s French, Spanish.
I don’t remember I don’t remember, specifically,
but my dad’s a Mexican so I have like different cultures in my in my life,
So I don’t speak Spanish sadly cuz my dad never taught me or my sister when we’re growing up
so that’s that disconnect to us like because my dad’s other side speaks Spanish most of the time so it’s like really hard for me to.
talk to them and–and stuff like that
it’s always been a struggle and even now, it was,
like working with Estrella Theatre like
there’s a lot of work that I, I would have had the opportunity, if I knew how to speak Spanish
you know if I knew how to speak that
it’s–so it sucks
um I learned–I know a little bit just because I had to take Spanish in high school
um so that kind of helped me but I’m still like–I don’t–I can’t speak to you–
like I can’t have a full on conversation with you.
(Zoom chatter)
JADE
yeah um I I’ve never been big on visual art despite like seeing them
I’ve always leaned towards performing arts
my mom–my mom forced me to go to class.
And then I ended up loving it,
I actually took classes, my first classes with–with Estrella Theatre
And I was–oh yeah so I’ve known them forever and that you know–
as I’ve worked more with like organizations,
like Estrella Theater and just talk to more–like actors or people involved in performance art
I’ve definitely just leaned way toward more, way more towards that,
while still focusing on the same issues.
I think the same issues and topics can be discussed in different art forms
and that’s like just really, really what I love about the arts is that,
like you can reach an audience make them think
make them leave with something
and that’s what yeah that’s what I’ve always loved about it.
(Zoom chatter)
PAT
(responding)so I’ve just been so confused because I don’t I don’t like–
Like physically I may look like a girl and stuff like that,
but mentally I never really felt a connection between being identified as a female,
and so I wanted to consider myself non binary.
(Zoom chatter)
XENON
You know, gender, can be one sometimes.
Sometimes I would be female
Sometimes I feel like being male
or just the binary could like put it aside.
A little bit of a mess sometimes.
Sometimes I’m like, you know my parent is like, you know, we have two daughters,
and you know, it’s like but do I want to be a daughter?
or son? or do I just want to be a child?
And it always confuses me sometimes.
I’m kind of somewhere in between, it gets messy.
Right, and I don’t think there’s really anything wrong with a little bit of everything.
it’s like a bit of both worlds.
(Zoom chatter)
EVE
And then, when I got to college that’s where
At first I was a business communications major for like the first six months,
and then I decided that I was going to switch to being a dance major
because I don’t like being a business major, that’s not what I want to do,
I was like, I wanted to dance. That’s what I’ve always loved, that’s what I’ve always known.
And so I ended up auditioning for the dance program.
And from there that’s where my journey came about when I started getting involved within the hip hop culture and I started getting involved with the dance community
and that’s also where, like all of my other kind of forms of expression really blossomed
also because I was starting to understand that what I was suppressing for so long,
really was being released through this form of art,
that I wasn’t aware that I was using as my–as my therapy in a way.
(Zoom chatter)
LEAH
Oh um both of my parents are like Latino
mm hmm. yeah.
So I kind of call myself Texan.
Okay cuz I’m from Texas, but
I think that’s what I am, a young Latina yeah.
I don’t really like describing myself that much because I don’t really know.
yeah like.I’m a lot of things…if I’m going on..
and like I can’t just be one thing
I’m just like, a mix of things.
(all actors close laptops)
(cue Powerpoint presentation)
SCENE #6: HISTORY OF YOUTH SOCIAL MOVEMENTS
(actors sit at their desks except for XENON)
XENON
(Puts on glasses, grabs a pointer, and walk to the front of the class)
School bell rings.
XENON
Ladies, gentlemen, non-binary friends. Class is in session! You know, we’re not the first young people to advocate for social justice. Young people have participated in liberation movements for decades. Students, can you provide some examples?
PAT
(raises hand) The numerous waves of the women’s liberation movement across the US which seek equal rights and opportunities and just greater personal freedom for women across various topics such as legal, voting, politics, work, family, and sexuality.
JADE
(raises hand) The Chicano Walkouts in the 1960s in East LA. A series of protests by Chicano students against unequal conditions in Los Angeles Unified School District high schools.
LEAH
(raises hand) The anti-immigration movement that aims to protect immigrant rights, programs such as the Deferred Action for Childhood Arrivals or DACA, lobby for stricter anti-hate crime laws, and counter xenophobia or any other opposition to immigrants in the US.
LUZ
(raises hand) The LGBTQ+ movement that advocates for the rights of lesbian, gay, bisexual, transgender and other sexualities.
EVE
(raises hand) Anti-gun and anti-violence campaigns against school shootings.
PAT
(raises hand) The Black Lives Matter Movement.
(pause)
(LEAH raises her hand)
XENON
Yes, Leah?
LEAH
Wanna know something crazy? (pause) With all the bans on Critical Race Theory (CRT) going on across the nation, we won’t even be allowed to learn about this history at school…That makes me sad.
JADE
(interjects loudly) It makes me angry! It’s so messed up! All the parents have been protesting at the school board meetings against CRT. Like, what the flute! Why is it a crime to know the history of our people, our race and injustice?
(other actors chime in agreeing loudly and passionately)
XENON
(shouts to get their attention) Class, class!
ALL
Yes, yes.
XENON
Thank you, class. I understand your frustrations. But this is why it’s important to develop youth leaders who are critically conscious! We are the future! Though I must admit, despite this history of youth leadership, young people, especially youth of color, continue to be negatively portrayed in the media and perceived as less knowledgeable, lazy, helpless, rebellious, incapable or even criminal.
(other actors groan in disdain)
What are some of the false assumptions you’ve heard about Latinx youth today?
EVE
All Latinas are hypersexual and that’s why we get pregnant young.
PAT
We all speak Spanish.
JADE
That we’re all illegal immigrants.
LUZ
Latinx kids aren’t smart because we don’t work as hard in school.
PAT
That we’re all in gangs.
(pause)
LEAH
Too bad it can’t be proven. They say our stories of injustice and exclusion are anecdotal. Apparently our age makes us less credible–
XENON
(shakes head) Ecu- me? Not today, Satan! There is loads of research to back up what we say and prove we are leaders too! You all give me no other choice… bring out the puppets!
SCENE #7: LITERATURE REVIEW PUPPET SHOW
(Stagehand brings out six puppets for each youth artist.Each actor puts a puppet on their hand and stands in a line done front centre stage. XENON facilitates the puppet show.)
LEAH
Like scientific evidence?
XENON
Indeed. Let’s pull out that dissertation. (grabs dissertation) Daniel Solórzano and Dolores Delgado Bernal (2001) reviewed the body of literature surrounding youth resistance and found it was conceptualized in a multitude of ways. However, most often youth were depicted as youth “acting out” and lacking a critique of the social conditions that elicit poor behavior, or that students critique oppressive social actions but lack agency to enact change.
EVE
(grabs dissertation)To qualify what constitutes as resistance, they draw on Henry Giroux’s (1983a, 1983b) two-part definition: (a) Youth must have a critique of social oppression, and (b) youth must be motivated by an interest in social justice
XENON
(grabs dissertation)However, Solórzano and Delgado Bernal (2001) present four different types of oppositional behavior: (a) reactionary behavior, (b) self-defeating resistance, (c) conformist resistance, and (d) transformational resistance.
PAT
(grabs dissertation) The first of the four types of oppositional behavior is reactionary behavior. This behavior is not a form of resistance because it doesn’t meet either of Giroux’s qualifications mentioned above, thus the young people lack a critique of their social conditions and are not motivated by social justice (Solórzano & Delgado Bernal, 2001).
(beat)
XENON
Hey Mr. Reactionary, what’s your thoughts on the recent abortion rule in Texas?
PAT
(in puppet voice) What’s that?
XENON
You know, Texas banned abortion for women after six weeks pregnant.
PAT
(in puppet voice) Oh I don’t know. Mr. Reactionary never even heard of it. I’m just a puppet. Socks for them. Get it (laughs) socks.
LUZ
(steps forward) Next, they describe self-defeating resistance as a negative form of resistance where youth may critique oppression but are not motivated by social justice and fail to act in a way to enact change. Instead, these young people engage in behavior that does not help transform their oppressive status and can even be destructive to oneself or others.
XENON
Howdy there Mr. Self-Defeating Resistance. What do you think about schools who ban ethnic studies?
LUZ
(in puppet voice) Hiya folks. It’s a darn tootin shame if you ask me. Ethnic Studies is not so bad you see. It’s just a way for us to examine history. To open conversation around race and racism in the U.S. of A., Hey! (whispers) I reckon we stage a coup. I have some dynamite, let’s go burn all the old library books. That’ll show ‘em! Yee-haw!
XENON
Slow down there cowboy, that’s just destructive. They definitely won’t listen to you then.
JADE
(steps forward) Solórzano and Delgado Bernal (2001) define conformist resistance as youth who are motivated by social justice yet do not critique oppression, instead they act according to societal norms and strive towards change within the existing social systems and social conventions.
XENON
Hello there Mr. Conformist. Question: What do you think about gendered bathroom signs? Keep ‘em or toss ‘em?
JADE
(in puppet voice) Good day. Listen, I want everyone to feel respected and have the freedom to poo where they choose. But, restrooms have always been labeled for men and women. We don’t have to change laws and policies, that will just upset people. How about trans people just use whichever bathroom they choose?
XENON
Yeah but that’s kinda the point, right? Without modifications to laws and/or policies, it’s less likely non-binary people feel respected or free to choose…(rolls eyes)
LEAH
(steps forward) Lastly, Solórzano and Delgado Bernal (2001) introduced the ground-breaking concept transformational resistance. Here, young people demonstrate both a critique of oppression and a desire for social justice. Of the four types of oppositional behavior, transformational resistance holds the greatest potential to lead to social change, for young people who both critique oppression and embody resistance have significant potential to transform systems and institutions
XENON: Last, but certainly not least, Miss Transformational. What should we do about youth voice in schools? Historically, students have no role in educational decision-making.
LEAH
(in puppet voice) Where do I even begin?
I must say it is a sin.
Universities, colleges and schools,
you don’t have us fooled.
You say it’s all about the kids
But I’m about to blow off your lids
Young people are put at the bottom of the hierarchy
No power, no voice, no choice, you see–
Adult-centered institutions
It’s time to pay restitution
No more spies and lies,
Who are our allies?
(puppet groups and puppet solos each step forward to speak at their turn)
LEAH, LUZ, and XENON
(alternating puppet voices)
Domínguez, Clement, and Bertrand, 2021.
Claim power dynamics in and beyond schools can impact youth’s ability
to contribute to educational decision-making authentically
Traditionally, power flows from the top down
Which often leads students to frown
In school, a principal holds greater power than the staff and teachers,
who hold more power than the students, Lord bring out the preachers!
Don’t get us started on intersecting societal hierarchies
race, social class, religion, gender identities.
EVE
(in puppet voice)
Cammarota, 2017.
Explains co-constructing knowledge with youth is pretty cool
a pedagogy of transformational resistance, a learning tool
That transforms young people’s subjectivities
to envision ways of learning that embrace our humanities
That counteract oppressive and reproductive education
Now that is what we call emancipation!
PAT and JADE
(alternating puppet voices)
Rodríguez and Brown, 2009.
Argue how youth of color can participate in the research process
And Yes, it has garnered quite the success
Youth Participatory Action Research or YPAR
An education that transcends the subpar
Because youth can use their emic perspectives
to inform topics of inquiry that are reflective
to address real-world issues
based on the needs, desires, and experiences of youth, grab the tissues!
LEAH
[CHORUS]
(in puppet voice) Universities, colleges and schools,
you don’t have us fooled.
You say it’s all about the kids
But I’m about to blow off your lids
Young people are put at the bottom of the hierarchy
No power, no voice, no choice, you see–
Adult-centered institutions
It’s time to pay restitution
No more spies and lies,
Who are our allies?
PAT
(in puppet voice)
Bell, 2010.
Research indicates schools position students at the bottom of the hierarchy
which can perpetuate adults to view youth as inferior, such malarkey.
the concept of adultism is based on the assumption
that adults are better than young people, but we say fiction!
Adults shouldn’t feel entitled to act upon youth without their agreement
Even if they can’t drive, vote, or make a cent! We want fair treatment!
LUZ, EVE, JADE
(alternating puppet voices)
Quijada Cerecer, Cahill, & Bradley, 2013.
We don’t agree with adultism, not one bit.
An -ism we deeply lament.
Instead we posit young people are not passive receivers of information
Youth are active participants in defining their education
And what it means to be a citizen in today’s diverse multicultural society
So adults, it’s time to let go of your notoriety.
XENON and PAT
(alternating puppet voices)
Gallagher and Rodricks, 2017.
We recommend youth participation in social justice-focused theatre projects
to reproduce and interrupt social relations that often go unchecked
applied drama techniques bring undisclosed or ignored dynamics to the foreground
holding out hope through the art we’re around
creative and discursive pedagogies foster youth an opportunity
to mitigate some of the negative impact while in community
ALL
[CHORUS]
(in puppet voices) Universities, colleges and schools,
you don’t have us fooled.
You say it’s all about the kids
But I’m about to blow off your lids
Young people are put at the bottom of the hierarchy
No power, no voice, no choice, you see–
Adult-centered institutions
It’s time to pay restitutions
No more spies and lies,
Who are our allies?
SCENE #8: SO WHAT?
PAT
So what? What does this all mean for us?
JADE
Well, it shows that despite these challenges we face as young, Latinx, females, we are in fact educational leaders.
XENON
It shows we have a voice and we care about improving society.
EVE
But it wouldn’t hurt to have some adult allies that provide more opportunities for youth voice in educational spaces.
LEAH
Exactly. (in puppet voice) Because according to the research, we have both a critique of oppression and a desire for social justice AKA transformational resistance. Which has significant potential to change unjust systems and structures.
LUZ
Our work with Estrella Theatre and the arts- based YPAR project also proves that we can combine art, research, social justice to address real problems in our community. Like the forum play we created about mental health.
ALL
(Reply yes in agreement)
SCENE #9: LATINX IDENTITY LABELS
(Each actor takes off their puppet and hold it or put it on the floor. They each pull their chair into a semi-circle facing the audience)
PAT
Wow, that’s wild. Who knew there were so many research studies that actually agree with our experiences. I wish some of my teachers were here…(looks into the audience) Ms. Roberts? Mr. Smith? (snaps her fingers in disappointment)
EVE
(to audience) Yeah adults, especially adult educators, need to learn more about the Latinx youth experience…
PAT
Well I actually call myself biracial.
XENON
I prefer to say Hispanic.
LEAH
Yeah, I say Hispanic.
JADE
I identify as Chicana.
LUZ
I’m Mexican American.
LEAH
Ay Díos mio… (puts hands on head)
EVE
Weird. I guess we all identify differently.
XENON
As much as like gen Z is all like fitting in and dressing up a certain way and labels.
um I think the only label I’ll take for now is homosapien.
Why not? It’s a label that’s reasonable,
you’re a human,
I’m human,
my friends are human.
we’re all human.
we all really believe ourselves homosapien,
not popular
not weird
not odd.
not-not seen as like something different.
there’s a lot of change- there’s-there would be a lot more acceptance than there is today.
JADE
(to the audience) Yeah I’ll stick with Chicana.… but to your point, just because we have Latinx/Hispanic ET. backgrounds that doesn’t mean we can all get lumped together. We’re far more multidimensional than that. Society just wants to put us in a box, but we can’t let them…right?
ALL
Right!
(All actors exit stage right and left)
SILENT SCENE #10: EVERYTHING IS NOT AS IT SEEMS
(An actor walks out and tears down the Sign Up for the HS Social Justice Coalition sign. Another actor walks out with a sign that says “No Spanish Allowed.” Then another actor emerges holding a sign that says “Freedom! Just say no to Masks!” Next, another actor walks out with a sign that reads “There are only two genders!” Another actor walks out with a sign that says “Go back to Mexico.” Then an actor walks out holding a sign that says “Stop Teaching Critical Race Theory to Our Kids!” An actor hangs a sign that reads NO JANGUEO. All actors walk off from both stage right and stage left.)
SCENE #11: THE PRESSURE IS REAL
(All actors enter playing Bad Bunny music and singing aloud. Some dancing. PAT is the first to notice the NO JANGUEO sign)
PAT
What… only Latinx kids at this school jangueo? I’m pretty sure other kids do too but for some reason the sign is only posted in Spanish.
EVE
Dang racial profile much. They just want us to be like them.
LEAH
Yeah, the societal pressure to fit in is real. How do you all think you conform to societal pressures and norms?
LUZ
(standing) Now I think the perfect examples are school bullies.
You know all the time, bully each other, because you know
stuff in their life is not going the way that it seemed
you know they might be in a very dark place
and they just might be lashing out on people.
EVE
(stands) So blue is basically your… no green is your heart chakra
blue is your throat chakra.
And what’s funny is blue is actually the Chakra I struggle with.
uh huh… yeah cuz I have, I have a hard time speaking up for myself,
especially when I-
When I don’t agree with things per se,
and I know I’m up against- again a person or an individual of authority or power
I tend to shut down because it also reflects that relationship,
I had with my dad.
Like the males in family life,
seem to always be the ones that are looked at as like a sense of
power or like authority or discipline
JADE
(stands) I think I conform, in the sense of just like adapting to
what is expected in America
like what is expected, how you act.
Especially, like around other people, like I forget that term…
Where the code switch where you code switch around people
that’s something that I see in myself a lot like when I’m…
PAT
Dude, same! My head gets so scrambled sometimes.
EVE
(stands) and for my dad- growing up, again, like in a- in a Mexican household
he was very much the father, that was the very disciplinary-
not always on the healthiest ways
and so with that, I struggled speaking up for myself,
because if I would- I would get in trouble, even more, even if I was telling the truth,
it was like no.
I don’t hear what you’re saying
doesn’t matter if you are telling the truth or not
I heard what I heard
and this is what I’m going off of so
LEAH
I feel that.
LUZ
(stands) I know that when I, you know, when I used to be a bad person
I would- you know bully people because, like, I had a lot of fighting at home with my parents and It was a lot.
(starts crying) Good because I didn’t get the childhood I wanted, we got.
so angry made me angry and I’m.
I desired what other people had so.
Well, one of them, for it, you know.
yeah.
(responding) yeah and it, I was choosing the wrong way people.
(XENON and PAT go to comfort LUZ)
JADE
(stands) I really only have one other too kinda
friend,
but when I’m talking to them, they always like.
I always feel more comfortable around them, because I can tell them things and they’ll understand what I’m saying, or like I could say things to them related to culture and they understand
ALL
Me too.
LUZ
(stands) Again self-care can look many different ways, whether that’s you know staying in a weekend and watching movies or
Going by yourself for ice cream or getting our new Journal and writing your goals
like it depends on the person
and how you want it to be and how it helps you.
But I think it’s very important to look- reflect on the choices you’re making and what you’re doing and to take care of yourself. I think a lot of times we just dismiss our feelings and we bottle it up, and then we lash on people when we hurt them.
EVE
(stands) (starts to get emotional) I– I think growing up too… I’ve always had a hard time where
If I’m in a position of power
I don’t fully know how to embrace that for myself
like I struggle to be in positions of leadership even because
I get nervous, because I feel like I’m not meeting the expectation that’s needed or…
LUZ
(goes to embrace EVE) I just want you to know that you’re strong and it’s going to be okay. You’re an amazing person and you’ve come so far,
Take some time to breathe and appreciate yourself!
I’m sorry for how your dad is, I know it’s hard.
But hopefully maybe one day too he will realize how he is, what he does, and how it affects you, and hopefully will take the time he needs to heal and become and do better.
EVE
(to LUZ) Thanks girl.
(pause)
JADE
(stands)You know, also, growing up in like white schools
like that’s something that I’ve kind of never had.
Because they just don’t have the same experience.
So, in that sense, like that’s how I’ve conform with society
like learning how to talk to certain people.
When they don’t really understand like who I am or where I come from.
LUZ
(stands)I think you just have to catch it soon enough and start like intentionally knowing
what you’re doing and knowing how to fix it and go around it.
And yeah kind of knowing where to place like how you express everything that you’re feeling everything you’re going through like how you do it properly, and in the healthy way.
EVE
(stands) (more upbeat) And that’s what’s funny is that dance is the only form,
where I feel like I can take a sense of leadership because I’m so comfortable with it because I know that’s what I utilize to express myself, but if I’m using just my words
I get like.
I don’t know…or i’ll be like, I’m good with whatever
or I get like really, like,
what do you guys think
because I don’t always like really believe in in what I’m saying
and I need to do better at that
PAT
I have an idea. Let’s play a theatre game!
SCENE #12: THEATRE GAME INTERLUDE
PAT
Okay, listen up people. The game is called Opposite of Jackson and it helps with demechanization.
XENON
De-mek-a-na-who?
PAT
De-mech-a-ni-za-tion.The term comes from Brazilian playwright and theatre maker, Augusto Boal. Basically, he says society programs us to be a certain way so this game or exercise helps us unlearn and defy those societal norms. (points to audience) You all are playing too, so follow along.
I’m going to give a series of commands. First, I am going to say STAND and SIT. For now, when I say STAND, you STAND, and when I say SIT, you SIT. Got it?
ALL
Yes.
PAT
STAND. SIT. STAND. STAND. SIT. SIT. SIT. (pause) Good job! Now I’m going to switch it up. When I say STAND I want you to SIT, and when I say SIT I want you to STAND. Ready?
ALL
Yes!
PAT
STAND. STAND. SIT. STAND. SIT. SIT. STAND.. (yells) STAND.. (laughing) Nice work! Audience, how did you do? Let’s try another. First, when I say YES, I want you to say YES. And when I say NO, you say NO. Let’s go.
PAT
YES. YES. NO. YES. (pause) Too easy right? You know what’s next. Let’s make it harder. When I say YES, you say NO. and when I say NO, you say YES. Vamos.
PAT
YES. YES. YES. NO. NO. YES. NO. Wow, look at that! Killing it!
PAT
Okay, final challenge. Let’s put it all together. When I say STAND I want you to SIT, and when I say SIT I want you to STAND. When I say YES, you say NO. and when I say NO, you say YES. Do you think you can handle that?
PAT
STAND. SIT. YES. NO. STAND. SIT. YES. YES. NO. STAND.(yells) STAND. YES. SIT. NO.
PAT
Let’s give yourselves a round of applause! Audience, was that hard? (calls on someone from the audience) Why was it hard? (PAT engages audience)
PAT
Alright folx, now we’re all warmed up and demechanized! Let’s get back to the dissertation.
SCENE #13: ART-MAKING TOWARDS POSITIVE YOUTH DEVELOPMENT/
MONOLOGUE MONTAGE #2
(Stagehand arrange the chairs in a circle facing outwards in center stage. Similar to musical chairs, each person will rotate towards the front center chair facing the audience where they will deliver their monologue snippet)
LUZ
I love acting
I love becoming a different person for moments, you know.
and, especially, working with Estrella Theater because we get to talk about issues of love around youth and I’ve never been able to do that before
um so yeah that’s another big part of my identity is like working with Estrella Theater being an artist
being an actor.
You know, of being a social justice person
that all is me,
you know, connects to me.
(change chairs)
LEAH
Well, I gained more acting experience and
You could also learn from interacting with other people.
mm hmm and
How the–
it’s like a different family kind of.
yeah it like made me
think differently also.
It changed me in a way too.
Because I used to think I couldn’t do anything.
mm hmm and then I was like Oh, I could do this, so I found something I could do,
on my own, that I actually can do pretty good.
(change chairs)
EVE
Growing up I experienced trauma that that could have led me to being that way, but for some reason, because I caught it so early and I was able to utilize art as my form of expression, I never reached that point in my life, where I was like I genuinely don’t feel okay enough to the point that I don’t want to be here anymore.
(change chairs)
XENON
Then with acting, I just, you know
hold on, let me get personality that we put this character here,
let me put their consciousness in here.
it’s like that entire process
when it’s acting and I’m-I know I’ve been doing arts programs and maybe usually have like a play or like a little musical at the end of every session and
it’s developed my acting skills, a lot.
(change chairs)
JADE
I guess, just like, the other biggest part of my identity or just like my everyday hobbies like.
acting, calligraphy and editing
and how can I use that to reach my goal of reaching out to people.
With theatre like–I like it, because you can reach out to people
(change chairs)
LUZ
with Estrella Theater, since I’m able to explore subjects of social justice and-and
youth based work.
I think it’s helped me a lot, because now,
I can talk about things that I wasn’t able to before
I’ve been exposed to a lot of things,
and now I can be a leader in certain spaces.
and help others
I think that’s also been such an amazing journey,
(change chairs)
LEAH
I guess,
It gave me.
It made me give- to let out my emotions kind of
because acting is not just something
You can see
it’s also something you feel
yeah and sometimes you have to be super open to anything-during when you’re acting
So–It can be used as a tool
For people to understand
Why we want to introduce the social topics that sometimes people don’t believe in
It gets shown artistically.
By something some people don’t expect
So I think it’s a really unique way to show people that
We want people to understand.
(change chairs)
XENON
yeah…you got something out of it.
it’s more of a…
putting another person in me or you know put…installs…
Then it’s like, Okay, how do we relate to this character and then it explores a lot.
Like I found out.
I recently just got interested in to play doctors and there was a character that was a play doctor that I used to play.
And then he- and then the character.
would like make tea with make- potions, soup, was all done with herbs.
I have a bit of a green thumb (Smug)
And I’ve grown some herbs in the past, always using them for medicinal purposes.
(change chairs)
EVE
But instead I have to flip my mindset really.
and realize that no- the reason, what did keep me wanting to be here was because I did–I was aware that I did have a voice. But it wasn’t necessarily from me speaking, it was me using my body. Or it was me like writing it down and speaking poetry.
That–that aspect is using my voice.
(change chairs)
JADE
Before the school year ended
My teacher had us do a project,
and I really liked this project because it was pretty much loose
there was no rubric or anything,
it was just: make something that makes people leave with a question
and that’s something that I kind of think about whenever I make anything
or I’m in any performances,
like, I want to, I want to leave an impact on people
(change chairs)
LUZ
for me, is like you know you’re not-
in school you’re not given a space to explore
like for social justice or
to become a leader
and exploring like issues around us,
you know because we’re-we’re often oppressed and you know people say we are too young and something like that,
but having that space to create you know this amazing original piece
based around- you know- issues revolving around race
and you know just like the last production like that was amazing to explore.
(change chairs)
XENON
Okay, so chamomile is identified as a curator
ginger is good for inflammation
milk thistle is good for dementia
it sells blueberries choose wisely but been and
ginger is also good for constipation.
And there are so many wonders with herbs.
And it can only reflect me by you know
what the character is supposed to learn
kind of like character development.
But it’s both, my self-development and the character developing.
It’s like putting myself in their shoes.
(change chairs)
LEAH
I just thought I couldn’t do it.
I mean, I also gained experience and who is acting for like four years,
I believe, four years a little over four years.
And my acting abilities have gotten better.
And there are some times, where…
Great.
huh and.
Maybe one day it can be (gestures so-so and bad)
It just takes practice and time
and you got to believe in yourself.
(change chairs)
EVE
But aside from that it’s always just been like.
mostly about being able to help others see what their capabilities are
when it comes to expressing and releasing
whatever it is that they may be going through,
because I think at the end of the day.
that’s really what most people need is that sense of that coping mechanism and and that aspect that really helps them regulate and makes them feel like they’re comfortable in the space that they are in,
Because there’s no one that can share or do it like them
or express like them and there’s no need to like filter it ET,
(change chairs)
JADE
I want to use my creative abilities to make an impact on people.
Just like I’ve seen my family do my whole life.
(change chairs)
LUZ
And like, just being open
and being having a space to talk about it
because now everyone thinks it’s so taboo
and everyone is harsh-harsh about it
when it needs to be something we all need to talk about
and address because it’s such a strong presence in society.
(change chairs)
EVE
Because with dance
I know that’s something that I’ve always felt like I don’t need to filter my movement for anybody
like that’s just who I am
that’s how I feel and that’s it.
(all actors exit and stagehand moves chairs behind desks)
SCENE #14: OPENED MY EYES
LEAH
(singing) He’s gone– here’s the thing
I still sit with sad memories
With a phone that won’t ring
why are you so mean?
Maybe one day you’ll see
I just wanted you to love me
To be there
And show you care
No one asks me how I feel
Only mamí knows the deal
I remember the times
I should have opened my eyes
Now I see it so clear
You’re still struck with fear
Trauma unhealed
That leaves our fate sealed
So one day with my own kids
The cycle will end
I’ll show them what you couldn’t show me
A new generation set free
No one asks me how I feel
Only mamí knows the deal
I remember the times
I should have opened my eyes
Ashley 02/24/22
SCENE #15: TRANSFORMATIONAL RESISTANCE & SEXUALITY
(LUZ and PAT sit down side by side on two chairs in the centre stage. LUZ has a laptop on her lap, while PAT holds a phone in her hand. They take turns speaking their monologues and freeze when the other character is speaking.)
LUZ
Um, I think my sexuality has always been hard for me.
Because.
I.. I mean I don’t- I don’t know how I would label myself,
I guess,
like bi or queer whatever
I just kind of think like…
When you experience love it shouldn’t matter what,
you know, gender, they are
as long as you love that person, they love you back
and that’s amazing
PAT
Um… I think it was the pandemic
throughout that time that made me like to dig-dig deeper into that because
I, myself
was questioning like, okay
what would I want to be able to… you know?
What like- what are my labels?
and am I comfortable with them or not?
If I am not, I should look into…You know, like the different kinds,
because I know some of my-some of my friends and acquaintances were saying like,
hey I’m non binary and I use these pronouns.
Or you know, hey I’m transsexual,
and so I enjoy using pronouns but I prefer they call me this,
and so that sense of people to say their labels you know
just being diverse and like- like having like these different identifications for themselves.
LUZ
Yeah in seventh grade I came out to my mom.
And that was like a horrible experience for me,
because my mom- my mom and dad have always been very close minded and
They-they would say like, “they don’t want their children to be gay”
or you know, something like that,
so that was hard,
but I did it and I told her you know,
I like girls too,
and I know you’re not going to be in no…. you’re not gonna like that,
and knowing I could be comfortable with that,
but it’s part of who I am
and- and it’s something I’ve been knowing since I was like in fifth grade.
PAT
It started to make me think about what I wanted to be and how?
And how I wanted to see myself as
because I know that, like you know I’ve always wondered…
Am I just a tomboy?
Or am I just a girl that just doesn’t follow norms of what normal girls should be?
LUZ
And you know, she said some harsh things to me,
and I think that’s always been hard for me, as well
I think that also set a disconnection between me and my mom.
And I never told my dad because I know my dad would freak out
and I don’t want to deal with that, because my dad has very bad anger issues
you know my childhood was rough most of the time
because he was drunk and he was abusive.
PAT
So I started thinking a little bit more about it,
and then the Black Lives Matter movement really started coming through throughout the pandemic because of the main event of the death of George Floyd
like that was just a really… just impactful event that happened
And it just made me think about like
what’s-what society is shaping itself into?
LUZ
Oh yeah oh yeah I definitely, especially when I was younger and confused, I was like
how do I even know, you know?
like I’m too young to know like, what does that mean for me?
Because you know I don’t–I’ve never known someone that was bisexual
so I didn’t have that either
like the outside help or support
PAT
Yeah, it just got me thinking into that and because it was impactful
And the LGBTQ, you know,
I was really starting to look deeper into those two because I wanted to find some way
that you know if–if, like discrimination or racism
Or you know homophobia or transphobia happens
you know to any of my friends…
I just want to be there to be able to support them.
LUZ
So I learned it and I remember, I could probably find them (glances looking for poems)
it’s just like there, it is the one,
but I- I remember writing poems about girls that I will have a crush on and
And you know, looking back, and now I’m like oh yeah that was just me trying to express like Well, this is what this is, who I am.
And I can’t feel that, with everyone, so I control it through writing,
and no one will never know you know..(pause) if I–
So yeah it has helped me figure out, who I am and
how I perceive things
how I perceive the world, everything like that, just like captures everything.
there’s no limit I guess.
PAT
And with learning about those two groups
like my-my end goal was to be able to
learn more about those communities and if
you know just any of the bad things, like racism or transphobia, homophobia ever happens,
like any of my friends in any situation or just wherever
I can be able to step up for them and to be able to speak up for those who are…
For those who are victims or vulnerable.
LUZ
Sometimes it takes me a long time to process something and I’ve noticed that once I’ve written about it, it’s easier for me to be like, oh it’s clear now you know
I can see what’s going on,
you know, I can see the patterns or things like that.
Which I’ve been grateful, you know, like I said,
especially like dealing with depression like that’s always been hard for me to and
letting it out through writing lifts a lot of weight off my shoulders
and it helps me a lot.
yeah
SCENE #16: THEATRE GAME INTERLUDE 2
LEAH
Thank you for sharing Pat and Luz! We so appreciate your honesty and bravery.
XENON
So many people get stuck on seeing people in one way. But that’s not reality, we’re far more multidimensional than that.
LUZ
Well said. Yeah I wish people could open their eyes and see things in a new way. That closed mindedness is what keeps people silent about who they are.
LEAH
Here’s a thought. Let’s do some object work. How about we play Homage to Magritte? Circle up!
(the actors stand in a circle and LEAH puts a chair in the middle)
So for those wondering, Magritte is a famous artist that created a painting of an apple called “Ceci n’est pas une pomme” or “This is not an apple.” The aim being to force us to question how we use labels and symbols. So this game pays homage to Magritte by looking at objects and seeing them in a different way other than they are.(points to chair) Okay what do we see in the middle?
JADE
A chair.
LEAH
Chair no more. From now on, this is not a chair. It can be anything else but a chair. We each are going to take turns using this no-name object in a unique, new, never been done before way. Then we will all guess what the object’s name is. Got it?
XENON
Got it. But maybe we should make the circle bigger.
LEAH
Hmmm…more people, huh. (turns to audience) Looks like we need some volunteers to come on stage and play with us. Can I have two volunteers from the audience? (LEAH calls up two audience members)
Anyone care to go first?
(the actors and audience members each take turns until everyone has a turn)
LEAH
Good job! Way to use your imagination and see things other than they are.
XENON
I bet they’ll never see a chair the same again.
(all laugh)
LEAH
Let’s show some love to our brave audience members for joining us on stage! (applause) You can make your way back to your seats. Thank you. Up next, Jade explains how transformational resistance can occur at the micro-level, through interactions and relations with peers.
(all actors exit stage right)
SCENE #17: A SOLILOQUY OF INTERPERSONAL TRANSFORMATIONAL RESISTANCE
JADE
(sits in a chair facing the audience in the front of stage right holding her cellphone to speak on a Zoom video call)
JADE
(responding) another thing that came to mind was something that I just can’t dial up or dial down
and that’s just being a woman in general,
like my–an issue I felt a lot…hard like.
a lot harder than I ever have
recently, is that I have friends who are white because of the school I go to
or I hang out with brown people, or people who are white and are friends with my friends
and they’ll say stuff…
Then I’m like, you know, that–that’s wrong and I’ll tell you why that’s wrong,
but something that I’ve experienced recently with like an acquaintance is that I would like,
he would say something really like micro aggressive or something
and then I would call him out on it and be like:
(flashback begins)
LEAH
(as JADE)
(waves to WHITE MALE 1 and approaches him while both students are wearing backpacks and masks)
WHITE MALE 1: I’m so over masks, it sucks. I’m never going to China after what they put us through.
LEAH
(as JADE)
Hey, you know that is wrong. You know that this is–like, xenophobic, right? You can’t blame an entire population of a country for COVID-19. The whole world has been affected by it
WHITE MALE 1: You don’t know what you’re talking about. That’s not what xenophobia is. That’s facts. That’s where the virus started. Don’t you watch the news? (freezes after line)
LEAH
(as JADE)
(turns to speak to audience) Oh my God, just being questioned on like
My own humanity or other’s humanity or like these,
like activist things I’m supposed to know
I’m just to be ignored at the end and then dismissed
And like what a slap in the face moment
(WHITE MALE 1 approaches WHITE MALE 2 to fact check JADE)
WHITE MALE 1
Hey so, Jade said me saying I don’t want to ever go to China because of COVID is xenophobic. That’s not what that is right?
WHITE MALE 2
Nah bro you’re really in the wrong for this one.
(WHITE MALE 1 and 2 freeze)
LEAH
(as JADE)
(speaking to audience) and then he came back to me
and apologized after going to the white man,
and you know just thinking about that experience in general,
just like makes me mad
and I didn’t even end up accepting his apology
WHITE MALE 1
Hey, Jade. My bad about what I said earlier. I talked it over with my friend and yeah, I didn’t mean it like that. We good?
LEAH
(as JADE) Nah, we’re not good. Straight up like you know–I know that you went to this guy
and the fact that you needed to go to like a white dude
before you could come back to me and say–like, that,
you own up to your mistakes
makes me believe that you never like cared about me in the first place.
Never cared about what I had to say and you only care when a man says it.
(flashback ends)
(Actors exit stage right)
SCENE #18: THEATRE GAME INTERLUDE 3
LUZ
Microaggressions to macroaggressions, at the end of the day they’re both aggressive.
XENON
Those moments are so awkward and uncomfortable! It’s like, do I say something? Do I not say something? Do I ignore it, laugh it off, or pretend I didn’t hear it at all? Or do I make a big stink? Do I say it nicely or firmly? Or both? What if it’s an adult? A parent? A teacher? Are we supposed to speak up then? I have so many questions.
PAT
It’s not always strangers too, oftentimes it’s the people closest to you that can cause the most hurt.
LEAH
It’s almost like we should rehearse comebacks for those moments, ya’ know what I mean? Because in the moment I just freeze up in a state of shock and then I regret later that I didn’t have the right words to say.
XENON
Or any words for that matter.
EVE
I know a way we can practice, Three Line Improv! Line up everyone. We’ll go two people at a time. Person A will make a statement, then Person B will give a criticism, lastly Person A will give a comeback. Listo?
PAT
Should we invite some of our new friends?
EVE
(looks at audience) Good call. I need two volunteers to join us. (calls up two volunteers from the audience)
ALL
Listos.
(The group improvisations the game live in front of the audience until everyone has a turn to play both Person A and Person B)
EVE
(Applauses actors) Good work everyone. How did that feel for everyone?
ALL
(actors improv reflective responses)
EVE
Let’s give another round of applause for all our actors, especially our spect-actors! Now back to the dissertation.
SCENE #19: TRANSFORMATIONAL RESISTANCE AT SCHOOL
EVE
Youth resistance can take place in a variety of places, including school.
JADE
Definitely at school. Did I tell you about that one time? With the High School Social Justice Coalition?
(Four youth arrange themselves into two rows of three facing each other. EVE remains standing watching the flashback from the stage right. The first of two flashbacks begin.)
STUDENT 1
Great job everyone! We killed it at the antiracism grade level meeting. So I talked to Principal Jenkins and proposed our idea to help co-facilitate the antiracist training with the teachers. Clearly they need help on how they should be handling it because, clearly, nothing is happening. Well the principal agreed. Let’s get to work.
JADE
(calls for some students to come work by her, begins to talk excitedly) Perfect. I have an idea I’ve been thinking about… Maybe we can have artists (she continues to chat in the background)
(An actor walks by with a sign that reads one week later)
(STUDENT 1 is called out of the meeting to the far stage left by ADULT 1 while the rest of the coalition members continue to work and plan. ADULT 1 and STUDENT 1 have a conversation out of view of the coalition members.)
STUDENT 1
(returns to the room with disappointment) Hey, can I get everyone’s attention? So I just got the news from the principal. Turns out they don’t want us to help co-facilitate the antiracist trainings for the teachers and staff. I’m sorry everyone.
JADE
What?! We’ve been working on this and now all of a sudden she’s going to go back on her word? What did she say?
STUDENT 1
She kinda backed me into like a corner and being like you can’t do that, like.
you’re not going to do that, like we can’t make time for you and I’m sorry, but this is like not going to happen, I know that your clubs gonna be mad, but you can’t do it. Sorry, I know we worked so hard to do that just for it to be just thrown out the window.
(everyone looks down sad and disappointed)
JADE
(long pause before she begins interior monologue)
Privilege
What you have
They will never receive it.
Don’t speak
No need
There’s no effect, anyways.
Mexican–
Before it was
American.
Sit at the coalition and create
Make a new string
To add to your tangled mess.
You’re uncomfortable
Forced to see me
With the mess you created.
Regret–
Not because of your actions,
Only that it happened.
We’re done
“You’re too loud”
I will just be louder.
(pause. ends interior monologue)
JADE
Let’s stage a school walkout.
Everyone agrees enthusiastically.
(flashback ends)
EVE
En serio? OMG I feel they don’t want to hear our voices at school. It’s like they say one thing in public and then do another behind closed doors. So messed up. And people say school isn’t political.
JADE
Facts.
EVE
Well, my story is about resistance, but my oppressor isn’t from the present, but from my childhood…
Flashback begins.
EVE
(speaks to audience) I feel like I’m–I’m at peace,
knowing that I am a survivor and I have a story that honestly can help others.
figure out, you know, maybe what their sense of peace is or
how to heal their own sense of trauma
that is something that I came to peace with
(Dancer enters the stage and begins to perform as EVE speaks her monologue.The dancer illustrates EVE’s narrative with her movement.)
around college when I got invited to do a showcase at a domestic abuse violence showcase. I got asked- us- the survivors, to perform a dance,
and that was a day, where I realized, I was like whoa.
I went through this as a child and it wasn’t domestic abuse it was more sexual abuse
and then, as I got older.
I was provided a platform to be able to share and express myself through a form of dance, and that for me was the moment where I was like whoa.
I didn’t know that I could feel this way, I didn’t know that I could feel this sense of release and having to think about those things as-as what happened,
back then, as my form of inspiration to move.
Even though I have been doing that for whole–my whole life,
but it was that moment, where I was like dance healed me
like it really did that, and I think that
That was the day that I realized also that I feel like my purpose is not only to just like to share and express with others around me and and create with others,
but to really acknowledge that
As a survivor, as someone who’s went through something that is very traumatizing and that you can’t give back
is something that I became really passionate about for others,
especially young–young teens or young children at that fact.
And then even, at times, young adults, because I’m aware, it still happens
it doesn’t matter what age you are
it’s possible, no matter what and so that’s something that I’ve really come to peace with this, knowing that I do have a story, I am a survivor,
but I also do have a way of expressing that
and I’m willing to be a piece of sharing that story.
Flashback ends.
JADE
Wow. Thank you for sharing that with me. Your story is so powerful. It’s like you used your art to not only cope, but also to bring awareness around domestic violence and abuse. That’s not just resistance…that’s creative resistance!
EVE
Yeah, it’s not always easy. It’s a process, but one I am willing to participate in because as much as it helps me, I know my story can help others too.
JADE
Yes! You go girl!
EVE
Yes, I’m blessed to have found dance. Dance saved me.
JADE
You’re going to have to teach me some moves some time, because ya’ girl has no rhythm.
EVE
How about now?
JADE
(laughs nervously) Uhh…now..umm…okay….
EVE
Try this. (does dance move)
JADE
Like this? (attempts to imitate the dance move but fails hilariously)
EVE
Um…(chuckles) yeah, nice try, maybe a bit more like this…(repeats dance move)
JADE
(re-attempts to imitate the dance move but still fails hilariously)
EVE
Yeah, girl…we’ll work on that, but good start. (gives JADE high five)
JADE
I guess we both have our own unique way of expressing ourselves.
EVE
Hey, that’s the way it’s always been and the way it should always be.
SCENE #20: TABLE READ
(All of the youth, including AMY, NANCY and DOLORES sit at a long table with a copy of their interview transcripts and laptop in front of them. They take turns reading sections aloud and providing feedback to demonstrate the member-checking and table read process)
PAT
(to audience) At the end of the study, we were all invited to read the data aloud to help the analytic process, but also to member check the representation of the data. Member checking means that as a participant I can make edits, additions, removals, and other recommendations before the dissertation is published.
(All characters are typing and working on the computer while a montage of different participant responses is spoken aloud. Despite being seated together, the participants are only connecting over Google Docs or Zoom.)
NANCY
Love this above intro and framing context
DOLORES
It seems that these two dialogues say the same thing. Or it seems that one is a longer definition than the other?
PAT
Hmm… delete.
NANCY
A couple questions: is there intentional repetition of themes throughout the piece, and is there a way to layer more into why the repetition is a part of the layered process documentation? Is there another part of the dissertation that goes with this, or does this stand on its own? And, is there a reason why we can’t name Estrella Theatre? If it feels OK to you, I don’t think we need a pseudonym! I think its an honor to be named in this. I do think its good idea to use different names for youth participants.
DOLORES
What I gather from this scene is that the actors will be introducing themselves but in zoom format. If so, maybe have whoever the lead speaker is give an example of check in question or questions. Example: What do you consider your heritage or ethnicity to be? What kind of art do you practice or like to do? And What are your pronouns?
I say these questions, as most of the actors are answering those in their monologues it seems. I believe this will make this part of the play go a bit faster and be more clear as to what the characters are trying to convey.
NANCY
Yes, I agree!
PAT
Hmm…Maybe take this part out?
DOLORES
This dialogue is very repetitive in some parts. Not sure if it is meant to be or sound that way.
PAT
There are some things in here I need to change.
…after having a long conversation with my mother,
I finally understood that sometimes peer pressure can get real nasty in my head.
Let’s just say, that I’ve questioned my identity several times, on several occasions,
but after that encounter, I’d just want to be label free.
So after that, I realized that I want to be my own me,
I want to be a lady!
And yes, even if it means wearing, saying, and doing the things that represent my identity.
(pause)
So, if it wouldn’t be too much trouble, can the pronouns be she/hers, and gender identity be a girl?
NANCY
I wonder if there’s a little more to dig into here? How do all these ideas come together to catalyze and shape what this project adds to the conversation?
PAT
Add quotation marks.
DOLORES
Maybe clean up the dialogue of this whole scene a bit so it sounds clearer, I get that it is youth speaking but I feel there are a lot of “likes” in there and some repetitive words that makes it confusing to read at times.
PAT
Replace lower case i with upper case I…
NANCY
Wow! What a cool documentation of process! I think this is really layered and I appreciate so much how it activates the concept of praxis- like framing the theory through and inside of the artistic process.
(pause)
Thank you for all this beautiful work!!!
SCENE #21: AUDIENCE SURVEY
XENON
(Enters dancing confidently, but also comically) See I got all the moves. I taught Eve everything she knows (laughing).
My dear audience, we are moving into the final segment of the presentation today. Coming up we have an audience survey, a Q&A, and a small group activity before we close. Buckle up!
First, let’s do an audience survey and see how you all resonated with the stories we’ve shared today. Take out your phones and please enter the Kahoot code on the projector screen. The survey consists of seven questions. For each question you will choose from one of the responses: Always, Often, Sometimes, or Never.
(XENON facilitates the survey and offers feedback after each question based on audience responses and results.)
XENON
I’ve had a voice in my learning and education.
I’ve had opportunities to–to be a leader in my education
I’ve experienced injustice in my learning.
I have a desire to learn about social justice issues.
I feel comfortable speaking to people in power.
I feel confident critiquing oppression and calling out injustice.
I enjoy being creative.
SCENE #22: POST-PERFORMANCE QUESTIONS & DIALOGUE
EVE
Based on your audience responses, it appears that… (riff)
EVE
Before we get to the Q&A, audience I have a few questions for you.
(Facilitates post-performance group dialogue with audience)
- What are the social problems/issues we see the characters face in the play?
- In what ways do the Latinx youth critique oppression and display a desire for social justice?
- How does making socially relevant art and performance affect the youth?
- youth, what scenes or characters resonated most with you? challenged you? inspired you?
- adults, what scenes or characters resonated most with you? challenged you? inspired you?
- What would help k-12 schools and learning spaces better nurture and educate students, especially students of color?
- What else could help encourage youth voice and leadership in learning spaces?
EVE
Now, what questions do you have for us?
(Actors sit in a row of chairs at stage centre)
SMALL GROUP ACTIVITY
LUZ
Thank you for your participation and thoughtful questions. Now I would like to invite you all to participate in a small group activity.
Find 2-3 people to form a group. Based on the play, together I want you to brainstorm how adults can better educate and collaborate with youth, especially youth of color, in learning spaces? After 5 minutes of discussion, I want your group to use one of the poster papers on the wall and the markers to create a graphic to illustrate your discussion. Each group will present at the end of the activity.
(Youth artivists facilitate activity and presentations)
LUZ
Thank you all for your participation and being a great audience today. We want to leave you with a poem written by our house poet, Luz.
EPILOGUE
SCENE #23: “UNDEFINED” A poem by Luz
(All YOUTH ARTIVISTS stand at center stage facing the audience.)
LUZ
I am not defined by my beauty
or by how I dress
I am defined by my words
and how I express myself to the outside world
EVE
I am defined by my art
and my sense of the unknown
I am a leader and a young artist
just trying to make art in this mundane but vast place
XENON
I am defined by the amount of freckles
on my face
but not my eyes, or nose, or lips
I breathe in the world
and exhale it out into something more
PAT
I am defined by my hard work,
my passion, and I lead with my heart and soul
Do not number me like everyone else
in this unfair system
LEAH
I don’t try to fit in like a puzzle piece
I like to believe I’m more complex and random than that
my power is what drives me
to keep growing and learning
JADE
I want to become wise and one with myself
I don’t want money, I’m not driven by it, I don’t abuse my power
like those in control.
I want to share my life and feelings and times
with everyone I love
LUZ
I don’t want to live life
occupied by everything out of my control
I want to share time and love
and I want to master the idea of life
and what it should be
It’s endless and beautiful
EVE
I will stay in my lane
I will do good
I will do everything I must
with truth and opened eyes
XENON
I seek the truth, I seek the justice,
I seek to understand everything and everyone
there is more than what meets the eye
and speaks to the mind
PAT
I am ready listen
and to cry and go through
the good and the bad
and the extraordinary
because I only get one chance
JADE
and I want to do it right
EVE
because in the end
LUZ
I will have a free mind and beautiful memories
LEAH
that will live on through me
ALL
until the end of it all.
THE END
Dr. Ashley D. Domínguez 