Red Summer Road Trip

 

In the late summer and early autumn of 1919, violence and uprising erupted across the United States. Hundreds of black lives were lost in the midst of a transitory period of unrest and hostility that was named The Red Summer.

As the nation marks a full century since then, we are in a new era of unrest.

Image from 1919 by Jun Fujita

 

This summer, Pinder is embarking on a classic American journey:
a road trip to visit major sites of The Red Summer.

He intends to bring into focus how much has changed since that summer – and how much has not.

Aiming to create a body of work in potentially hostile communities, Pinder seeks an audience of people with differing perspectives. Through this journey, the artist hopes to explore the complexities that shape America. This road trip builds on the legacy of Jack Kerouac, who inspires Pinder to think of the journey itself as a medium for creativity by finding poetic influences from the ordinary — recording, documenting, and learning on the road. Pinder’s work also draws inspiration from The Freedom Riders, who offered an interventionist model. By pushing the boundaries of what was acceptable, they used their physicality to elicit interaction. Through movement, they embodied change.

 

Over a two-month period, Pinder will explore cities and towns across the South by car to provoke conversations about racial injustices that occurred a hundred years ago and still make up the fiber of black experiences nationwide.

Stops

 
576A0670.jpg

Washington D.C.

At The Source Theatre, Jefferson Pinder and a team of physical performers will train their bodies through frenetic sequence in THIS IS NOT A DRILL. Preparing to engage with the demons of past and present day, The Middle Passage Guerilla Theatre Company probes into close-order drill, shooter drills, boxing, and Bo staff training to delve into communal strength. These performers are on the ready to explore sites of violence and injustice. Considering training techniques used by the Student Non-violent Coordinating Committee, The Black Panther Party, and Marine Corps hand-drill training, the performance crew finds unity through ritualized physical routines. Based on historic techniques of martial empowerment, figures will be in constant motion, preparing for inevitable conflict. As the performers grapple with their own endurance and unite in the face of racial divides, the audience will be confronted with the intensity of this struggle.

RCI2BSM3UU4KPMM3JHUNHI24IA.JPG

Houston, Texas

Pinder will reenact the Camp Logan uprising. The group will follow the footsteps of the bloody engagement that lead to the largest court-martial in US history — a significant but often overlooked event.



 
576A1763-2.jpg

New Orleans, Louisiana

Pinder will bring THIS IS NOT A DRILL to the Marigny Opera House. The team of powerful performers behind the Middle Passage Guerilla Theatre Company will demonstrate the next evolution of the piece as the explore the power of militarization and communal strength in another site of historical racial violence. The New Orleans iteration will feature a collaboration with local composer Avery Bell and his musicians who will add live instrumentation to the work.

 
Carr's and Sparrow's Beach 1931 Banneker-Douglas Museum.jpg

Chicago, Illinois

The road trip will conclude with a commemorative performance in Chicago; the city that experienced the greatest and most violent of the race riots of the Red Summer.

July 27, 1919: Chicago’s beaches remain unofficially segregated, and a black teen, Eugene Williams, floats on a raft into an area on a South Side beach that is primarily used by whites. Williams is then brutally stoned and drowned by a group of white teenagers.

Eugene Williams’ death, and the Chicago Police Department’s refusal to take action against his attackers, prompted nearly two weeks of conflict between black and white masses on the South Side. During this period, white mobs torched and destroyed hundreds, if not thousands, of black homes and businesses. Over a thousand black families were made homeless, 537 black people were injured, and close to 40 were killed.

To recognize and commemorate these events, Pinder and fellow Chicago artist A.J. McClenon will engage with Chicagoans in a performance on the lake. Inflatables crafted specifically for this event will allow dozens of folks to float on the lake together as a means to memorialize this site of violence a full century later.


Rehearsals

SOUND DESIGNER
AJ McClenon 

STAGE MANAGER
Agnotti Cowie

DRILL SPECIALIST
Joseph Losinski (USMC)

PRODUCTION MANAGER
Aimy Tien

PRODUCTION ASSISTANT
Itzel Basualdo

COSTUME CONSTRUCTION
Jeremy Sublewski

SUZUKI INSTRUCTOR
Tony Garcia

USMC HAND DRILL INSTRUCTOR
Brenden Burnham

ARTIST
Jefferson Pinder 

PERFORMERS

Antoine Byndum
Emerson Elias
Timmy Engelbrecht (USMC)
Sidra Newman
Jordan Rome
Martel Tinsley 


Sponsors and Partners