Abstract
Moj of the Antarctic: An African Odyssey is a physical storytelling theatre piece for one performer with poetry, music, dance, audience interaction and visuals.1 The play tells the odyssey of Moj, a woman who escapes slavery in the deep south of America by cross-dressing as a white man, travels to England, becomes a sailor on board a whaling ship bound for the southern ocean, and becomes the first African woman to step foot on Antarctica. The play is inspired by Ellen Craft, a mid-nineteenth-century African-American woman who in 1848 actually escaped slavery by cross-dressing as a white man.2 Moj of the Antarctic is an intertextual fusion of Ellen’s real life boundary-breaking trans-gender, trans-racial, trans-geographical performance with the voices of almost 20 dead authors, as well as digital images and film of myself performing as ‘Moj’, shot on location on Antarctica by legendary Queer photographer and film-maker, Del LaGrace Volcano.
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References
1 Mojisola Adebayo, Moj of the Antarctic: An African Odyssey, in Hidden Gems, ed. Deirdre Osbourne, London: Oberon, 2008.
2 William Craft, Running a Thousand Miles for Freedom: The Escape of William and Ellen Craft from Slavery. Louisiana: Louisiana State University Press, 1999.
3 Homi Bhabha, ‘Of Mimicry and Man: The Ambivalence of Colonial Discourse’, in The Location of Culture. London: Routledge, 1998, pp. 85–92.
4 Stuart Hall (ed), Representation: Cultural Representation and Signifying Practices. London: Sage, 1997.
5 Alex Haley, Roots: The Saga of an American Family, New York: Doubleday, 1976.
6 Kwei-Armah <http://news.bbc.co.uk/1/hi/magazine/6480995.stm>, accessed 23 March 2007.
7 Josef Szwarc, Faces of Racism, London: Amnesty International UK, 2001, p. 39.
8 Max Jones, The Last Great Quest: Captain Scott’s Antarctic Sacrifice, Oxford: Oxford University Press, 2003.
9 Adebayo, 2008: 156, paraphrased from Karl Marx and Friedrich Engels, The Communist Manifesto, London: Orion, 1996 [1848], p. 11.
10 Adebayo, 2008: 166.
11 William Shakespeare, The Tempest, London: Penguin, 2001 [c.1611]), p. 40.
12 The irony is that in making and touring Moj of the Antarctic I have deepened my carbon footprint and caused ecological damage. The challenge is to make sure these footprints lead toward consciousness raising on climate change. See George Monbiot, Heat: How We Can Stop the Planet Burning, London: Penguin, 2007.
13 See:<www.nationalarchives.gov.uk/pathways/blackhistory/work_commu-nity/docs/service_record.htm>, accessed 13 February 2009.
14 In that spirit let me ‘big up’ just some of the theatre artists who influenced Moj of the Antarctic: Ntozake Shange, Susan Lori-Parks, Debbie Tucker-Green, Percy Mtwa, Mbongeni Ngema, Barney Simon, John Kani, Winston Ntshona, Athol Fugard, George Bwanika Seremba, Samuel Beckett, Amani Naphtali, Patrice Naiambana, Lemn Sissay, John Millington Synge, Dario Fo, John Martin, Jacques LeCoq, Bertolt Brecht, Augusto Boal, Denise Wong and all in Black Mime Theatre, Emilyn Claid, Phillip Zarrilli, DV8, Wole Soyinka and the performers/makers of Ubu and the Truth Commission.
15 Adebayo, 2008: 157-8.
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© 2009 Mojisola Adebayo
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Adebayo, M. (2009). The Supernatural Embodied Text: Creating Moj of the Antarctic with the Living and the Dead. In: Broadhurst, S., Machon, J. (eds) Sensualities/Textualities and Technologies. Palgrave Studies in Performance and Technology. Palgrave Macmillan, London. https://doi.org/10.1057/9780230248533_8
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DOI: https://doi.org/10.1057/9780230248533_8
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