Fractured Threads

Fractured Threads
Created by:
‘Stories, Bodies, Movements’ Class (GLOS 3900 & GLOS 5900)
University of Minnesota, Fall 2017
On Stage:
Kriti Budhiraja
Devan Dupre
Esmae Heveron
Keavy McFadden
Sara Musaifer
Richa Nagar
Jason Noer
Beaudelaine Pierre
Veronica Quillien
Julie Santella
Maria Schwedhelm
Laura Seithers
Veera Vasandani
Colin Wingate
Artistic Direction, Sound, & Lights:

Tarun Kumar
Course Conceptualization, Organization, & Facilitation:

Richa Nagar
Fractured Threads, 11 Dec 2017, page-1

Opening
ACTOR (1), ACTOR (2)
Lights come on.
Actor (1) & Actor (2)

Hello everyone!
Actor (2)
Thank you for coming to our performance, Fractured Threads. This performance has evolved
from our collective work in our course ‘Stories, Bodies, Movements.’
Actor (1)
In his book, “The Wasted Vigil,” Nadeem Aslam, writes: “Pull a thread here and you’ll realize
the whole world is attached.” Fractured Threads is a patchwork of reflections on the possible
and impossible work of storytelling. It struggles with the stakes of telling or not telling a story, of
embodying stories that may not be ours to tell, and of revisiting our own stories in order to
grapple with the tapestry and trapestry of the i/we/you/they.
Actor (2)
In attempting to do so, we sing, we break, we crawl, we dream. Using theater as a mode of
inquiry, we begin a journey to invent our own transgenre and translingual retelling, one where
we refuse to separate the protagonist from the antagonist.
Actor (1)
This process of creating and co-traveling over the semester has involved fracturing and breaking
in all the senses of the word; we break to reveal while keeping in mind that the act of revealing
also breaks us.
Actor (2)
Please turn off your cell phones if you have not done so already.
Actor (1)
And now we begin our performance, Fractured Threads.
[Fade out. END OF OPENING]
Act 1
Scene 1.1: Overture

LEAD SINGERS, FULL CAST

Setting: Fade in as Lead Singers take their place at center
stage.
At rise: Light comes on Lead Singers.
Lead Singers
↓How can we remember
How our bodies moved that day
With all those fractured threads
Splitting in our way
↑And how can we tell it
When there’s such shifting ground
Many acts of translation
Weaving all around
↓Oh can we remember (Unison.)

It must have come from the flood (Harmony starts.)
Falling out of that earthquake
Turning land into mud
To do right by these stories
They weren’t made for me
They were made to be free
Cast enters and surrounds Lead Singers in semi-circle
↓I lined my toes up (Unison.)

right up against the ledge
where one universe ended
and the other began
↑And if we listen
If we look out with care,
We will indeed see shadows
Over everywhere.
(Ensemble joins in at melody.)
↓And can we remember (Unison.)

↑and when we are parted
plant my body in the ground
so roots of new mem’ries
can grow all around.
[END OF ACT 1]

Transition Verse 1
FULL CAST, MUNSHID (1), MUNSHID (2), MUNSHID (3)
Entire cast is on center stage, humming, and standing in line, shoulder to

shoulder. The first Munshid steps forward and says the first line. As the
line ends, humming picks up again. Then, the next two M unshids step
forward in turns as they say their first lines. Humming and reciting
intersperse.
Munshid (1)
Searching. Grappling. Hungering.
(The cast hums.)
Munshid (2)
Connections. Resonances. Relationships.
(The cast hums.)
Munshid (1)
Floundering. Fumbling. Fierce.
(The cast hums.)
Munshid (2)
Recognizing. Humanity. Inhumanity.
(The cast hums.)
Munshid (3)
Where do I stand with all of you? With the world? With those I know, those I come to know as
Other?
(The cast hums.)
[Fade out. END OF VERSE 1]
Act 2
Scene 2.1: Graduate Student Nightmare

JULIE, NIGHTMARE JULIE, GRADUATE STUDENT, BODIES ON THE GROUND

Setting: SLIDE: Photo of Julie’s Bedroom. Early morning.
Julie is sleeping. She gets restless and talks in sleep.
Her nightmare is acted out by Nightmare Julie.
Center stage we see Julie’s nightmare. Nightmare
Julie is standing on a chair surrounded by bodies
lying on the ground. Standing next to her is
Graduate Student.
At rise: Julie walks over to stage right and prepares to sleep.
Julie
(Tossing and turning.) Thinking brings… essence… human… handed over... thinking
accomplishes…
Nightmare Julie
Thinking accomplishes the relation of being to the essence of the human being. Thinking brings
this relation to being solely as something handed over to thought itself from being.
(Sleeping Julie yells in her sleep. Graduate Student next to Nightmare

Julie is actively listening, attempting to follow along and taking notes on
Nightmare Julie’s words. Bodies on the ground stir and wither around
Nightmare Julie, as if her speaking has awoken them.)
Nightmare Julie
(Louder.) But if the truth of being has become thought-provoking for thinking, then reflection on
the essence of language must also attain a different rank.
(Sleeping Julie yells again, this time more disturbed. Graduate Student
nods with a hint of over-performance, as if trying not to betray that she, in
fact, does not understand. Bodies on the ground get increasingly turbulent
and active, beginning to sit up and rise from the floor, towards Graduate
Student and Nightmare Julie. Graduate Student starts to notice more than
Nightmare Julie seems to. Graduate Student looks nervously around at the
Bodies on the ground who start to grab at Nightmare Julie and react to
her, rejecting what she is saying. Next, someone from the ground drags
Graduate Student away, pulling her off stage, leaving only Nightmare
Julie on the chair.)
Nightmare Julie
(More loudly, and worriedly.) But in the claim upon human beings, in the attempt to make
humans ready for this claim, is there not implied a concern about human beings? Every
humanism is either grounded in a metaphysics or is itself made to be the ground of one.
(Screams) Ahh!!! Ahh!!
(Bodies on the ground overtake Nightmare Julie as they compete for the
stage. Sleeping Julie screams.)
Julie

Ahh!! Ahh!
[END OF SCENE 2.1]
Scene 2.2: Apartment

JULIE, KEAVY
Setting: Julie’s and Keavy’s apartment.

At rise: Julie continues to scream in sleepy panic. Keavy
runs in to see what is wrong. Keavy and Julie move
center stage.
Keavy
Julie, wake up, wake up!
Julie
Let go of me!
Keavy
Julie, it’s me, what’s wrong?
Julie
Oh my god, I just had the strangest nightmare… I was this horrible professor figure, doing all the
things we hate, all the things we’ve talked about not wanting to become… I was with a graduate
student and I was spewing horrible nonsense, just academic jibberish in the most arrogant way…
Keavy
What an odd dream, I’m so sorry. Between prelim planning and funding applications, grad
school haunts you even in your sleep!
Julie
Yeah, but the worst part was, in the dream, I had such conviction. I was making the grad student
feel incapable and somehow my subconscious thought that people actually cared about what I
was saying!
Keavy
(Unsure how to react.) It was just a dream...
Julie
I know, but... there were other people there and they started shouting at me, telling me that I was
wrong…as if people outside the academy care in the slightest about what academics do!
Keavy

I know.
Julie
But then, their protesting didn’t make me stop or question things or shut up - it only pushed me
to speak more loudly, more quickly, more confidently. I was so arrogant, behaving exactly how I
don’t ever want to behave. I know it was just a dream, but it felt so real. I actually recognized
myself. It didn’t feel so totally different from the way I’ve felt in seminars.
Keavy
I hate how there’s no end to the stress of grad school, not even when we’re sleeping. You know,
my aunt always used to tell me to pay close attention to nightmares, she used to say they can tell
us a lot about ourselves and our insecurities.
Julie
Wait, Aunt Melissa? From New Orleans?
(Drumbeat begins to cue flashback)
Keavy
Yeah, the one who stayed in New Orleans during Hurricane Katrina. But come to think of it, I
don’t know if she was actually talking about real nightmares… she could have been talking
about memories of the storm…
(Keavy and Julie walk forward and then to stage right. Keavy leans
against the wall, looking into the distance. Julie switches on the lamp.)
(Characters enacting the New Orleans scene appear in the background

first and then move to the front stage, but frozen. Projection on screen
helps to set the stage in New Orleans.)
[END OF SCENE 2.2]
Scene 2.3: Grocery Store

KEAVY, JULIE, LOUIE, MELISSA, NEIGHBOR, DEBBIE, JUSTINE, MICHAEL, LEAD
SINGERS, FULL CAST, LAURA
Setting: SLIDE: Photo from New Orleans. A grocery store

during Hurricane Katrina. We are in the 7th ward,
where flood levels reached 15 feet, primarily due to
the breach of the London Avenue canal. Flood
levels are rising. We are in the second day of the
storm. Our group is camped out on the second story
above the main-floor store area below. They have

brought up food to protect it from the water filling
the downstairs.
At rise: Keavy and Julie are stage right at the lamp. Louie,
Melissa, and Neighbor are center stage, frozen.
Keavy
(Julie switches lamp on.)
She has this story about how she and her neighbor Louie weathered the storm together. Louie
owns a grocery store just around the corner from her house in the 7th ward in New Orleans. A
few of the neighbors all decided to wait the storm out, and gathered together in Louie’s shop to
share food. As flood levels rose, they had to retreat to the attic above the shop to escape the
water.
(Julie switches lamp off. Cast unfreeze.)
Louie
It’s been two days since we lost power. It looks like we still have some chicken and ground
beef—it’s not going to last long. There is some milk too, that’s going to spoil quickly. We
probably have longer before the eggs and the cheese go.
Melissa
I know. If only we were in the French Quarter... I heard they already got power back. Ever since
they put the power lines underground in that area to clear the streets for tourists, they’ve had
better electricity service than the lower parts of the city. Plus, the high ground escaped the worst
of the flooding.
Neighbor
And where are all their precious tourists now? So much for the Big Easy. Not that we ever saw
them in this part of the city anyway.
(Julie switch on lamp as Keavy narrates to her. The crew freezes.)
Keavy
You know, as I remember all of this, I realize that Aunt Melissa never told me how race politics
were working in that grocery store. I don’t even know if the neighbor was black or white, their
history, who they were, how they came to be with Louie and Melissa.
Julie
I’m sure there were tensions around who got the food and when, and who didn’t.
Keavy
There had to be. That scarcity of food was unfolding in a deeply racialized landscape with a
history filled with centuries of violence and dispossession.
Julie
The hurricane we heard about in the news was Katrina. But what about all of the other hurricanes
and disasters like it that have been landing for so long?

(Julie switches lamp off.)
Louie
We have a good stack of canned meat, beans, and vegetables over in this corner, and we could
try to salvage some from below if we run out. Although I don’t want to be the one to open that
door. The sight of my store under water and the smell of my food rotting is too much for me to
stand.
Melissa
I know. I’m worried about drinking-water mostly. It looks like a lot now, but who knows how
long it will be until we can find our way to fresh supplies?
Louie
Ironic, huh. Water surrounding us on all sides, and we still don’t have enough.
Neighbor
Can we have something to eat already? I'm starving and it’s been almost a full day since we
worked through the perishables. I think it’s time to open up the cans.
Louie
Look, we let you stay because you had nowhere else to go. But you haven’t exactly been
involved in the life of this neighborhood in the past. Melissa and I have worked in this store
together for decades and are basically family. We call the shots. We decide when to eat and
when to wait.
Melissa
Louie, please. Whatever happened before, the storm is our reality now. We’re all here, we’re all
hungry, and we just need to stick together and help each other if we can.
Louie
One flood and we erase everything that happened before?
Melissa
All I’m saying is that things have already changed, and I can’t imagine that’s going to stop
anytime soon. All of our houses are underwater. We’re staying dry together now. Let them eat if
they are hungry.
(Debbie and Justine float up on a mattress, paddling through the streets.

Debbie knocks and peers into a few houses as she searches for people.
Most homes have been evacuated, but she still calls out for help.)
Debbie
Heeelp! Is anyone in there? Got any food?
(Melissa hears Debbie’s calls from inside the store and rushes to the
window to look.)

Melissa
Hey! Over here!
Debbie
(To Justine.) Did you hear that?! (To Melissa, Louie, and Neighbor.) Oh thank God. We’ve been
out floating on this old mattress for hours.
Melissa
Paddle over this way and tether the mattress to the windowsill...I’ll try to get this window open a
little further. (Helps Debbie and Justine through the window.)
Louie
(Pulls Melissa aside.) Melissa, what are you doing? How many more people can we actually take
in? I don’t know how much longer we’ll all be able to survive on what’s left...
Justine
Please, I’m worried about my mom. She’s been so distressed since my brother Michael left us.
We waited for hours, but the water kept rising and he didn’t come back.
(Michael paddles across the stage, out and back, as Debbie describes
what happened.)
Debbie
We don’t have a car so we had to stay and weather out the storm. We stacked all of our valuables
and family photo albums up on the top of our dressers. I never thought the water would get so
high. Michael left to look for help, but we had to climb up on the roof. A rescue boat came and
took us to the Claiborne overpass but we haven’t seen Michael since.
Justine
I kept telling him we just had to wait it out, but he wouldn’t listen. He said he couldn’t just sit
there waiting around.
Debbie
We left the FEMA camp at the overpass to go looking for Michael. I’m so worried. I just want to
know if he’s okay.
(Michael exits. All the characters from New Orleans freeze as Keavy
narrates. Julie switches on the lamp.)
Julie
I guess Aunt Melissa was right. But then again dreams are about so much more than just our
insecurities. They tell us ugly truths.
Keavy
Yeah, they can tell us about violences that we inherit through our histories, families, and
geographies.

Julie
Violences that live and breathe through our skins.
Keavy
And yet, when I think back to Melissa’s memory, I feel like people can always find something to
sing together even when food and songs are scarce.
(Someone begins to hum the melody of ‘Michael Row the Boat.’ Julie
switches the lamp off. All the characters begin to sing joyfully, patting
legs, dancing, using grocery items as instruments—e.g., macaroni box,
coffee cans, bucket as drum, playing bottles like flutes/jugs. There is
raucous party feel. Michael enters on his boat during song.)
All
Michael row the boat ashore, hallelujah. Michael row the boat ashore, hallelujah. Then you’ll
hear the trumpet sound, hallelujah. You’ll hear the trumpet sound, hallelujah...
Justine
(Very upset.) Stop singing this. Can’t we sing a different song? No Jesus songs. No songs about
Michael.
Melissa
Okay, okay, what song then?
Justine
Anything but this, I can’t hear this song.
Louie
But what other song do we know? How can we sing something different together if we don’t all
know another song?
(Each person chooses a song to hum and tentatively plays on instruments

to satisfy Justine. Some are uncomfortable. There is dissonance. Justine
starts another faster verse of the opening song.)
Justine
And how can we tell it
(All other members of the Cast join in.)

Lead Singers

They were made to be freeeeeeeeeeeeeeeeeeeeee (Sound of strong winds.)
(Song ends in wind-like sounds and people on stage spin out rapidly as the
wind picks up. Everyone spins around the stage and twirls off stage.
Laura, Julie, and Keavy enter center stage to read poem together. Stand in
a single-file line. Four people stand in each corner of the stage with heads
down. A photo of X-codes is projected on screen)
Keavy
Some days, my story is one of hurricanes.
As the storm surge sank

FEMA’s battalions descended on post-Katrina New Orleans
spray-painting the city in X-codes,
a system of edificial ciphers used to publicly catalogue the damage as it spread across the
crescent.
All told, 80% of all structures in New Orleans were marked by an X.
Julie
This federal graffiti indicated structural instability
from floodwaters and levee breaches...
from long histories of race, land, and sea levels.
In this city where the dead refuse to stay buried
Katrina crosses (re)count a flood of unfathomable proportions.
Laura
And yet, for many, the X came to symbolize
survival, resilience, and endurance.
I am telling you all of this because

the man who raped me
the white man / who brought my hurricane to me
had a large X-code tattooed across his chest,
a perfect replica of the X that marked his family’s home.
Julie
His hurricane and mine converge,
drowning my bloated definitions of
survival, accounting, and loss.
Keavy
As I float,
I am left clinging to a raft built by both
protagonists and antagonists,
my foot caught in the dense ethical weeds of who gets to be a victim,

who gets to be a survivor,
and who gets to draw the X.
THE BREAK
(Lamp is turned off. SLIDE: “The Break” projected on screen.)
But I can be raped.
Laura
When a man reaching into my internal organs
without my consent
carries a higher punitive price
because my skin is white.
What can the ghostly shadow of an X-code tattoo even mean?
Julie
Founding fathers and modern miracles.
The lineages of my gynecological exam after my sexual assault
go back to Dr. J. Marion Sims, a reproductive surgeon
and slaveholder
who performed experimental surgery on Betsey, a woman he owned.
Un-anaesthetized,
without consent
& gruesome, on all accounts.
Keavy
We may all have sutured genitalia,
but our seams stitch together different violences, different histories,
& scars are rendered incomparable.
This is not a mother we share.
Laura
Hurricanes and earthquakes, these unnatural disasters
Remind us of the many other tragedies
that cling to the geographies we breathe
And the histories we carry in our bodies and skins.
Julie
So, as we weave and mend fractured threads of stories and selves,
we must have the courage to sing these songs of hurricanes,

Keavy
But we cannot forget to ground the directions of winds,
& narrate the specificities of the bodies they tear.
[END OF ACT 2]
Transition Verse 2
FULL CAST, LEAD SINGERS, MUNSHID (1), MUNSHID (2), MUNSHID (3)
Munshid 1
Fragments, stories, struggles. Sew us together and rip us apart.
(Cast follows the Lead Singers and hums.)
Munshid 2
We inherit chains which make us the oppressor and the oppressed.
Munshid 3
We breathe, we choke. We breathe again, we choke again.
All Munshids
For these are our journeys.
[END OF VERSE 2]
Act 3
Scene 3.1: Mitu, Ma, and Nani

MITU (VEERA), CHANDA, MADHUMATI (MITU’S NANI)
Setting: Mitu (Veera), Chanda (Mitu’s mom), and

Madhumati (Mitu’s nani) are sitting on the floor
and playing cards. Music is playing softly in the
background. Chanda and Madhumati stop playing
when a certain song comes on. They look at each
other and laugh. Madhu gets up and takes

Chanda’s hand and they start dancing and singing
along. The song is “Reshmi-salwaar kurta jaali ka"
from the 1957 Hindi film, Naya Daur.. Mitu, seeing
her mother and nani dancing, gets excited and gets
up to dance. She tries to sing along to the chorus
but messes up the words. Chanda tries to dance
with Mitu, but Mitu is reluctant and stands still.
Mitu
Wait, wait, stop for a second. Can we pause it? (Walks over to pause the song.) What does the
song title mean? Reshmi-salwaar kurta jaali ka? I know salwaar and kurta, obviously.
Chanda
Of course, of course, Miturani. I know you know about salwaar-kurta. The guy is describing the
salwar and kurta that the woman is wearing. The salwaar is reshmi, silky. Like your hair...
Madhumati/ Nani
What, Mitu, why are you asking this now? We’ve played this so many times before.
Mitu
Just curious Nani…
Nani
Okay duffer, play the song again!
Mitu
Wait, but…
Chanda
Pyaari Mitu, please, it was getting to my favorite part.
Mitu
But I also want to dance with both of you. Please tell me what it means!
Nani
Achcha baba, I’ll tell you! They’re singing about her salwar that is made of silk, like your Ma
said. And her kurta has beautiful jaali work. You know jaali?
Mitu
No.

Nani
It is a very intricate kind of embroidery, a little bit like a fishing net. The guy, who’s in love with
the woman, is singing, “Oh, I can’t bear the tantrums of this woman who is dressed so
seductively!” They’re singing about how unbearably beautiful she is, and her nakhra… like, the
arrogance of one so gorgeous! Your Ma and I would dance to this song all the time!
Chanda
Ya, you taught me the steps many years ago and now we’ve lost the steps.
Mitu
No, no you’re so good.
Nani
Ya, but you should have seen my thumkas when I had just gotten married!
Mitu
That must’ve driven Nana mad, right?
Chanda
I always loved how the guy is actually a woman dressed as a man and all these men in the village
are enjoying the show. Ma, isn’t this woman who is dressed as a man the sister of that famous
comedian, what’s his name... Mehmood?
Nani
Yes, her name is Minoo Mumtaz. The girl she is in love with is Kumkum. Since men and women
were not allowed to dance on stage together, young women dressed up as both women and men
to perform these romantic scenes, especially in villages and small towns. In my own high school
in those days, girls—or should I say (laughing, looks at Mitu to underline that she is being
politically correct) “young women” Mitu?—in their teenage years would declare another young
woman to be her “favorite.” Then the favorites would stick together all the time. No one objected
to it, but people would talk in whispers, “Look those two are each other’s favorites!”
Chanda
Wow, I had no clue.
Nani
There are so many things you don’t have a clue about, Chanda. You were so busy studying all
the time that you didn’t have the time to take interest in things like our Miturani does. But really,
Chanda, why didn’t you teach Mitu more Hindi?

(Chanda protests at this accusation.)
Mitu
Nani, but I do understand Hindi! Most of it...or maybe some of it? Yeah, Ma, why don’t you
speak to me in Hindi anymore? I remember going to the grocery store with you when I was this
tall and practicing counting one to ten. Ek-do-teen, all that.
Nani
Right, right, ek-do-teen but you don’t know untees (29), do you?
Mitu
(Looks at Chanda) Ma!
Chanda
(Looks at Madhu) Ma!
Mitu
Why didn’t you teach me more! See, we get into all this nonsense.
Chanda
Uff, stop being so pesky! Can we not get into this sensitive subject now? I wanted us to have
some fun. Let’s play the song again!
Mitu
Mama, no, please. Do you even know how hard it is feeling so left out when we visit Chennai? I
don’t even know Tamil! Or how awkward it is when I make South Asian friends here and they
start speaking at me in Hindi and I have nothing to say in return? It’s not fair!
Chanda
Miturani, you know how much I love you, but when we get into this subject you always become
ungrateful.
Mitu
Ungrateful, she thinks I’m ungrateful.
Chanda
Why do you think Nani and I love listening to old songs? It is my only connection left to my
language. As you grew older, my own ties to Hindi faded away.
Mitu

And how is that my fault?! Please, tell me.
Chanda
Mitu betu, stop being so aggressive. Let me live in peace! It’s not like you don’t know all the
stuff that happened between your father and me.
Nani
Arrey meri beti, why are you fighting with your ma. Your ma didn’t have a choice! She wanted
so much for you to know Hindi and for the first few years, I remember how she would only talk
to you in Hindi, bring all those Panchatantra stories and Amar Chitra Katha for you to watch.
She even collected old copies of that silly Champak. (To Chanda.) Yaad hai, we used to fill a
whole suitcase with kilos of these things…
Chanda
(Laughs.) And that extremely silly Lote-Pote!
Nani
And yes, that Lote Pote, too! (To Mitu.) Trust me, she really wanted you to know Hindi.
Mitu
And then what happened? Why did all of that stop? What goes in the suitcases now? Tell me, tell
me, tell me.
Madhu
Well, your ma had to make peace with the fact that we are here now. You are not growing up in
India. You are from this country. So you had to learn its ways. Right? (To Chanda,) Do you want
to tell Mitu what happened in her school that time?
Chanda
I suppose. Yes, my dear. You were a very small girl and one day, your teacher called me to
speak with her. I have your pictures upstairs of you that age, you want to see them?
Mitu
Mom, please, the story. You always do this—change the subject. (To Madhu.) She always does
this!
Chanda
But you were the cutest baby! Anyway, yes, so your teacher called me and said that she had a
hard time understanding you when you spoke. She said, “Your daughter has an accent. When
you speak with her in Hindi that causes difficulties in the classroom. So can you speak to your
daughter in English at home.” And so I said, “OK, fine.” I’ll do that. That’s what happened.
Mitu

That’s it? I had an accent they refused to understand?
Chanda
My bubuloo, you won’t understand how complicated these things are when you are an immigrant
brown woman raising a child. When you are made to fear that everything your instincts tell you
to do will be declared as “wrong” by somebody who has authority.
Mitu
Ma, but one teacher asked you to stop and you just stopped? Where’s the feistiness, the garam
masala, the masti that you always taught me about? That’s also part of being an immigrant
brown woman. What happened to resistance, Ma!
Chanda
There we go about resistance again! You don’t tell me about this resistance business, ok. For you
children it is easy to say these big words. What do you know? Seriously!
Mitu
Of course I know! You wouldn’t even believe what my friends and I are doing at my University.
There’s this free speech-hate speech stuff going on and we’re…
Chanda
Why do you go into all of this now? You focus on your career! Politicians do their job, you do
yours. I didn’t suffer for this, ok. I have seen all kinds of political types in my life. I may sound
conservative to you, but really, will these protests or politics make you the ghee you love to cook
everything in? Will they get you your Bournvita? Will they feed you? There are other ways of
bringing peace to the world. Mitu. You go help people recognize their own inner values. You go
out and do that.
Mitu
Uff Ma, you can’t just say, here are politics and politicians and here are good people with good
values who bring kindness and buy their ghee. You know, the world doesn’t revolve around ghee
and Bournvita and good values. If only you bothered to understand... I’m going!
Chanda
Bubuloo wait! Jao mat. Don’t go like this.
Mitu
No, you go make your ghee and leave me in peace! (Walks off stage.)
Chanda

Ma, dekha na? She just left. That’s not fair. We were having fun.
Nani
Tum bhi to shuru ho jati ho. Do you think she has forgotten all those stories and scars that we
have shared over the years? First there was your father, and then there was your husband.
Chanda
I don’t know. Maybe it’s a good thing if she has forgotten. I am so scared of reminding her of
anything from her childhood. Remember, how that psychotherapist came after me saying that I
was causing her to get chronic depression and anxiety?
Nani
Don’t remind yourself of that time. It is behind us. At least she has gone back to school. What do
those psychotherapists even know? They’re scared of intimacies between us. Tum logo ne saath-
saath kya nahi dekha? If ma-beti go through too many turmoils together, they don’t have the
vocabulary for it—they see it as, wo kya bolti thi Mitu ki psychotherapist…
Chanda
She said we were destructively entangled… No, no, she said, “enmeshed” with each other!
Madhu
Chalo, let’s make some chai. I am getting a headache.
Chanda
Main banati hoon.
Nani
Adrak ki banana.
Chanda
Bilkul! Kali mirch ke sath!
Nani
Aur adha chammach cheeni.
Chanda
Bilkul nahin! No sugar.
Nani
Achha baba, ok! ok!

[END OF SCENE 3.1]
Foreshock: Interview #1
CHORUS, INTERVIEWER, INTERVIEWEE (1)—BEAUDELAINE, CORRESPONDENT,
BODY (1), BODY (2)
Setting: Bodies on the floor. Interviewer, Interviewee (1),

and Correspondent stand facing the audience. The
bodies face the audience as well.
Chorus
We rumble, We rumble, We fall
Shango, Lord of Thunder
Still your hand. Still the ground
If you see us fall into the earth, lift us back up
We rumble, We rumble, We fall.
Interviewee (1)/ Beaudelaine

(Reads from the floor until called by the Interviewer.) Li soti tou frèt anba gravwa, Amayide file
sou yon pye pou al wè si se vre: Pitit fi li mouri. Se pa tann te, ayè m te wèl. Mistè monte bwa.
Syèl la te sou. Tè salpèt. Tè grennen. Tè vire bò. Nan pwen nè pou mare doulè. Bri souf k ap
kase kònen, souke rasin van k ap soufle toupatou. Dal beton vide. Katye Amayide se yon liy
tonm abondonnen. Kapital la pise san. Gen dyare nan kalson l. Ata nan plim je l. From Raoul
Altidor, Amayide.
Interviewer
Mike check. One two three. Hello my name is (mouth out a name) and I will be conducting two
interviews. My intent is to mark the lives of those that have passed away in the earthquake. I do
not speak. I cannot speak. I am the oracle. I am the sybil. I gather the bones, the blood, the flesh
into my mouth and spit back up a living body. Dressing it up with the garbs of a beating heart, of
flushed cheeks, of bellowing breath. I call back the ascendant to fill the voids of life vacated.
(Fade out. Interviewer walks up, sits in chair, and calls up Interviewee(1))
Interviewer
How did you die?
(As Interviewee (1) answers, all bodies sit up and look at Correspondent
as he mimics Interviewee (1), and they mimic him.)
Interviewee (1)
On est tous reveilles un samedi matin; et je m’appretais a donner a manger au cochons de la
ferme; je les ai retrouves tous morts; quelques seconds plus tard, tous les gens du village etaient

eux aussi reveilles; il y avait des cris partout; les gens hurlaient; ils appelaient au secours; je
venais de comprendre que dans les maisons d’a cote, c’etait la meeme chose. Nos cochons, notre
source de revenus avaient disparus. C’est comme ci quelqu’un avait signe notre arret de mort. Il
y en avait partout, des cochons morts, nos reves disparus, tous nos projets…. ma mort est arrivee
tout juste apres la mort de nos cochons, quand j’ai decouvert cela, que pres de la motie d’un
million de porcs one ete tues.
(SLIDE: English text projected on screen as Interviewee (1) speaks.)

We woke up on a Saturday morning; as I was on my way to feed the pigs and let them
out of the barn, I found them all in pain. They were literally dying. It was a tragedy; they
were all killed, and a few seconds after I realized that in the entire village people were
screaming, yelling, agonizing over the death of our pigs. We left our village, screaming,
asking for help. I came to realize that all of our neighbors were living the same
nightmare. All the pigs in the village were dying. It’s like you wake up and find out that
someone had signed your certificate of death. We walked and ran to our neighbors with
our pigs dead, with ourselves lifeless. My death came at the moment our pigs were
slaughtered. Half million of them were killed, I am telling you.
Interviewer
Thank you, thank you. Now to our correspondent, Jason.
Correspondent
(To Interviewer and Interviewee (1).) Nice, nice, that’s really good. (To the bodies.) I’m gonna
call you Boots, names aren’t important anyways. Stories are needed for my research. How did
you die?
Body (1)
Oh, am I on camera?!
Correspondent
Yes!
Body (1)
I died when they sent my sons to war.
Correspondent
Hey! Long Hair, how did you die?
Body (2)
They ripped off the veil from my hea…
Correspondent
Mmm, wonderful! Back to you Colin, we’ve got more!
Interviewer
What were you doing before you died?

Interviewee (1)
J’etais dans mon lit, et j’etais en train de vivre un cauchemar. Avant d’aller au lit, il y avait dans
les nouvelles les representants du gouvernement des Etats-Unies ont accuse nos porc d’etre
porteurs de maladies; ils ont recommande que plus de la moitie d’un million de porcs soient
extermines. Ils ont aussi dit qu’ils allaient les remplacer par des cochons venant des USA.
(SLIDE: English text projected on screen as Interviewee (1) speaks)

That night, I had a nightmare in my sleep. But before going to bed, there was in the
news the report of an ongoing tension between officials from the United States
Government and the representatives of organizations such as the FAO (Food and
Agriculture Organization), OAS (Organization of American States), and IADB (Inter-
American Development Bank). They were trying to convince the Haitian government to
kill all the pigs in Haiti they believe had the flu. They said they would compensate
farmers, and supply new pigs coming from USA. You know, our pigs were the source of
income and few of them were raised for home consumption, except on certain ritual
occasions.
(Correspondent directs bodies to move and speak.)
Interviewer
We have a bit more from the ground.
[END OF FORESHOCK]
Scene 3.2: Mitu and Jagan

MITU (VEERA), JAGAN
Setting: Mitu goes into another room and looks at a sheet of

paper that is on the bookshelf. It is the last drawing
that Jagan sent.
At rise: She shows the audience the drawing.
Mitu
(To audience.) This is a drawing by my friend Jagan. He’s also Nani’s closest friend. He drives
an auto-rickshaw in our neighborhood in Chennai. We would sit in his auto-rickshaw for hours,
sharing stories and just spending good time together. They were the best memories of my
childhood. He speaks Hindi, and I, obviously, only speak English. But when I go back to the
States, we still mail each other drawings of what we see outside of our window at that time. This
was the last drawing he sent me. Do you see how the falling leaves are framing the sky?

(Mitu is taken to the memory in Chennai during the monsoon season, five
years ago: she and Jagan sitting in the auto rickshaw. Present-day Mitu
sits on the bed, and watches the memory unfold. Mitu and Jagan bounce
together as if in rickshaw.)
Mitu
Look, Saravana Bhavan! Remember that chocolate sundae we shared with Nani and Ma there?
You went up to the counter and asked for more chocolate shavings and they made such a fuss
about it.
Jagan
Only because you and Chanda wouldn’t stop doing your natak! You know, I took Savitri and
Durga there for the first time last week.
Mitu
Oh, how are your little girls doing? Why haven’t I met them yet, Jagan?
Jagan
Because I’m always here, and they’re always there!
Mitu
You know, it’s so sweet. You talk about them all the time. You let them paint your fingernails,
and you found the nicest little dolls for them during Navratri. Even when we were getting our
sundae, you bought a little box of mithai for them. Even though I don’t understand what you’re
saying all of the time, I can tell when you start talking about them. Your voice changes, you
know. And you smile. They’re always with you, even when you’re not with them. (Places head
on Jagan’s shoulder).
Jagan
(Ruffles Mitu’s hair.) Silly girl! I’m here all the time, driving you around all day and all night to
get your puzzles and toys, and all you can talk about is how much I do for my girls. Do you see
me with them now? Lekin haan, I miss them. I bet your Papa is at work right now, missing you,
too.
Mitu
No, I don’t think so. All Papa does is shout. He goes to work, his boss yells at him, and he comes
home and yells at us, uff. But I bet Ma is missing me right now, even though we’ve only been
gone for fifteen minutes! I don’t know how she puts up with him.
Jagan

Your ma does more than just put up with him, Beti. You know, when your nana died, your papa
didn’t let her come to the funeral because she needed to take care of your dada and dadi, your
papa’s parents, while your papa was on a business trip. I’ve never seen your nani so mad. She
was looking at plane tickets to go rescue her! Your nani, who’s afraid of America and airplanes.
[Fade out. END OF SCENE 3.2]
Scene 3.3: Do not Protest, Mitu!
MITU, NANI, CHANDA
Setting: Mitu’s living room.

At rise: Nani and Chanda are sitting with cups of chai.
Chanda
Arrey, Mitu rani. Ab aa bhi jao. There is chai waiting for you.
Mitu
Is it my kind of chai or your kind of chai? First you put two spoons of sugar for me, full cream
milk, and give me two rusks. Only then I will come. I need energy to shout slogans along the
corridor!
Nani
Arrey, phir slogans! Kya ratt laga rakhi hai? I am telling you na, these protests, slogans, all this
nonsense is no good.
Mitu
What do you know, Nani? Let’s just have chai-vai and relax.
Nani
Of course I do. I know it all. It always starts like this. Going for one dharna here and then one
dharna there.
Mitu
Dharna? Is that another count you didn’t teach me, Ma?
Chanda
No, no, dharna is a protest. A sit-in.
Nani

Shouting slogans and all. And then participating in all this commotion just sucks you in. There is
violence, everything has to shut down, and then all those big ideas-videas, they become nothing!
It all turns into dirty politics. People just get hurt and disillusioned.
Mitu
How do you know about all of this? Nani, badmash, have you protested??
Nani
I’ll hit you with my chappal if you call me badmash. First learn your manners, then you go on
protest.
Mitu
Sorry Nani, I didn’t mean badmash in an ill-mannered way (tugs on both ears and then sits down
and stands up like a ‘murga’.)
Chanda
Oh, you will have to do it the difficult way for saying “badmash”!
(Mitu tries to become a ‘murga’ by hooking her arms under her knees and
falls over. Nani laughs. Chanda comes and hugs Mitu.)
[Fade out. END OF ACT 3]
Scene 4.1: Big Corridor
VEERA (MITU), ESMAE, BEAUDELAINE, COLIN
Setting: Along the Big Corridor that separates the two sides
of the Big University campus.
At rise: Veera enters stage right and crosses the corridor
slowly. She stops and turns toward the audience.
Veera
This is the Big Corridor that bridges the two sides of our campus.
(Esmae enters from stage left. Esmae turns, links her hand with Veera on
Veera’s right, and speaks.)
Esmae
People pause here to take photographs of the mighty river.

(Beaudelaine enters from stage left and holds Esmae’s hand.)
Beaudelaine
Others pause here to contemplate jumping.
(Colin enters slowly from stage right and holds Veera’s hand.)
Colin
On the walls of the covered walkways, student organizations paint promotional slogans
delineating inclusion and exclusion.
Veera, Esmae, Beaudelaine, Colin

(In unison.) This corridor divides our campus.
(Veera and Esmae break hands abruptly as Veera and Colin take a step to
the left and Esmae and Beaudelaine take a step to the right. Esmae and
Veera stay on stage. Colin exits stage right, Beaudelaine exits stage left.
Then, Veera and Esmae step forward, put some distance between them,
and recite a poem by June Jordan. SLIDE: June Jordan’s poem projected
on screen. Throughout poem, underlined words spoken in unison by Veera
and Esmae.)
Veera
Even tonight I need to take a walk and clear my head about this poem about why I can’t go out
without changing my clothes my shoes
Esmae
Changing my clothes my shoes my body posture my gender identity my age, my status as a
woman alone in the evening, alone on the streets/alone not being the point
Veera
alone not being the point being that I can’t do what I want to do with my own body because I am
the wrong
Esmae
because I am the wrong sex the wrong age the wrong skin and
Esmae and Veera

who in the hell set things up like this. Do you follow me: We are the wrong

Veera
people of the wrong skin on the wrong continent and what
Esmae
wrong continent and what in the hell is everybody being reasonable about. And according to the
Times this week back in 1966, the CIA decided that they had this PROBLEM
Veera
They had this problem and the problem was a man named Nkrumah so they killed him and
before that it was Patrice Lumumba and before that
Esmae
Patrice Lumumba and before that it was my father on the campus of my Ivy League school and
my father afraid to walk in the cafeteria because he said he was wrong
Veera
He said he was wrong the wrong age the wrong skin the wrong gender identity and he was
paying my tuition and before that it was my father saying I was wrong.
Esmae
My father saying I was wrong. I am very familiar with the problems because the problems turn
out to be me.
Esmae and Veera

I am not wrong: Wrong is not my name
My name is my own
and I can’t tell you who the hell set things up like this
but I can tell you that from now on my resistance
my simple and daily and nightly self-determination
may very well cost you your life.
(As Esmae and Veera begin the last stanza, Jason, Kriti, and Veronica
begin walking behind them on the stage (Big Corridor) before beginning
their scene. Esmae and Veera exit to opposite sides of the stage.)
[END OF SCENE 4.1]
Scene 4.2: Hate speech, Free speech
JASON, KRITI, VERONICA, COLIN, ESMAE

Setting: Big Corridor on the Big University campus. On the
covered walkway there are panels for student
groups.
At rise: Jason, Kriti, and Veronica are painting the panel on
the corridor. They are wearing red, white, and blue.
Jason
Did you watch the debate last night?
Kriti
Yeah, Trump came out on top!
Veronica
I’m happy that we finally have a candidate who speaks for us.
Jason
Alright, we’re done. Let’s go meet up with the other guys.
(Jason, Kriti, and Veronica say goodbyes to one another and go separate ways.
Colin and Esmae walk up to the panel and tape up signs that read “Stop white
supremacy” to cover the “Build the wall”.)
Colin
Why do they have to write that on their panel, it’s really scary having to walk around and feel
unsafe on our own campus.
Esmae
Those words are so vicious to me. Some people really don’t understand how violent these walls
are. My friend, Rosa’s Dad was just deported without notice last week. He was dropping off her
little brother at elementary school and they took him back to El Salvador within one week. I
couldn’t believe it.
Colin
Wow, see that’s what I’m talking about. And not only did they paint this mural, the president of
the university defended them, saying it’s protected as free speech.
(Jason walks by, listening to music, and decides to rip down posters. Then,
he walks to the protestors.)
Esmae

Hey man, What are you doing?
Jason
This is our panel! What are YOU doing?
Esmae
Covering up this hate speech.
Colin
Did you write that?
Jason
Of course I wrote it! These are the words of our candidate and should be respected even if you
don’t agree with it.
Colin
Do you know how violent this is?
Esmae
My friend’s dad got deported last week and she has to walk by this every day.
Jason
I have to walk by it every day, too! It’s a reminder of what my father and his father fought for—
the first amendment.’
(Colin curses the first amendment.)
Esmae
We’re at a university! Think critically about these words and what they stand for. What group
are you from anyway?
Jason
Speak regular English! And think for yourself. I’m with the College Republicans, what group are
you from? The left liberal ultra-feminists?
Colin
Of course he is.
Esmae
Oooookay, that makes sense now. You know what, you’ve insulted us enough, you need to get
out of here!

(Esmae pushes Jason. Colin and Esmae continue to put up posters. Jason
comes back to tear down posters. Esmae struggles with Jason and then
puts him in an arm lock.)
Jason
Get off me! Don’t touch me!
Colin
You know what, it’s not even worth it.
Esmae
(Pushes Jason harshly, and starts walking away.) You’re right. It’s not worth it.
(Esmae and Colin exit scene.)
Jason
Yeah, that’s right, walk away! Activists? Feminists? Dirtying up our wall! Republicans like to
keep things clean, don’t we?
[END OF SCENE 4.2]
Scene 4.3 – Big University’s President Manages a Crisis
PRESIDENT IVANKA, CHIEF OF STAFF JAN, FULL CAST
Setting: Big Hall, Big University’s president Ivanka’s office.

At rise: SLIDE: Photo of the administration building
projected on screen.
(President Ivanka walks into her office carrying a cup of coffee. She sits
down at her desk and begins going through papers, yawning.)
Jan
(Dramatically bursts into Ivanka’s office, holding a laptop.) President Ivanka, your phone has
been ringing off the hook this morning. I came in at 7 a.m. just to start sorting through the emails
and requests for interviews. You need to send out a campus-wide message from this office.
President Ivanka

Well good morning to you, too, Jan. What is it this time? I was out late schmoozing at that
alumni dinner. I haven’t had a chance to check my messages.
Jan
Oh, the College Republicans had to go and paint “Build the Wall” on their student organization
panel. You know, the ones along the Big Corridor? That was one thing but last night someone
tagged it with “Stop White Supremacy”.
Cast:
(Chants.) Stop white supremacy!
President Ivanka
My god, the minority students will be livid. And we’ve gotta get someone out to deal with that
graffiti. Vandalism is certainly not the solution. Just what we needed. Another diversity crisis.
Any protests yet?
Jan
There are rumblings in the student newspaper. And the regents are asking us to keep the peace.
This is all bad publicity for the brand.
President Ivanka
(Slams her coffee down on the desk, begins pacing, motions for Jan to take a seat.) How do we
keep the peace without agitating our donors? We need the funding. At the same time, we also
have to uphold free speech. The student org has the right to paint the words of the candidate they
support.
Jan
Even when the language they’re using is discriminatory? It stands against the values we say we
have, and all of the emphasis we’ve been putting on diversity and inclusion.
President Ivanka
(Continues pacing, pausing occasionally.) Yes, we throw around those diversity buzzwords in
the brochures, on the website... But this is a university. This should be a space for free exchange
of ideas, even when some students find those ideas offensive or discriminatory. And we can’t
allow vandals to stir up strife.
Jan
(Opening her laptop.) Alright, let’s draft a campus-wide message to appease our donors and the
students. But let’s tread carefully. There will be strong reactions if we don't condemn the phrase

“Build the wall.” It doesn’t really bring about a welcoming campus climate… it’s awfully
xenophobic…
President Ivanka
C’mon Jan, leave your bleeding-heart liberal ideas at home. We’ll throw a bone to the students
who are upset. But I can’t have graffiti all over these hallowed halls of learning. Just think of the
clean-up costs!
Jan
But…
President Ivanka
Jan, there’s no time! Let me take a stab at a statement. See how this sounds...
Jan
Okay, okay (begins typing as Ivanka dictates).
President Ivanka
Dear Big University campus community…This university supports a campus climate that
welcomes all members of our community. We value equity and diversity, but also strive to
ensure the free flow of ideas, even those that are offensive to some…
[Fade out. END OF SCENE 4.3]
SCENE 4.4 - Professors: “We Wanna be Diverse!”
PROFESSOR LOVE, PROFESSOR SANTELLA
Setting: Big Hall, where Ivanka’s office is located.

At rise: Professors Love and Santella enters from stage
right and walk across stage. They act over
exaggeratedly, in mockery.
Professor Love
Professor Santella, did you see the letter that was just sent around by President Ivanka? Seems
like there’s quite an uproar out there (looks out the window).
Professor Santella
Yes, Professor Love, I’ve seen it all right! Someone needs to calm these students down and
explain to them why we need to include diverse voices and multiple perspectives. They need to

understand why it’s important that both sides of this issue can be heard. If only we had the time
to teach them. As an assistant professor, between two overdue journal articles, a deadline from
my publisher, and conference papers I haven’t yet written, I’m swamped...
Professor Love
Ah, yes, but diversity is really important. How about we kill two birds with one stone? We can
organize a panel to address the issue and facilitate discussion. And we can put it on our C.V.s as
well!
Professor Santella
What a brilliant idea, Professor Love. We can even co-author a journal article on effective
strategies to include diverse voices in our universities!
Professor Love
Oh, you are a genius, Professor Santella!
(Professors exit stage right, lights down)
[END OF SCENE 4.4]
SCENE 4.5: The Panel at the Big University
PRESIDENT IVANKA, PROFESSOR LOVE, PROFESSOR SANTELLA, VEERA (MITU),

JANITOR.
Setting: A long table in the middle of the room serves as The

Panel. Four people sit at the tables, while three
other members of the cast join the audience of the
play and become the audience for the panel. The
panel consists of representatives of the university
community: Professor Love, Professor Santella, and
Veera (Mitu), one of the student leaders of the
protest.
At rise: President Love stands up at her seat.
Professor Love
Welcome, everyone! My name is Professor Love. Thank you for taking time out of your busy
evening to join us. We are here today to generate campus climate dialogue to address the Big
Corridor controversy. I would like to briefly introduce each of our panelists, and then we will
begin with opening statements.

(Audience applauds)
Our panelists are each important members of our campus community. Please stand up when I
introduce you. President Ivanka is here representing the administration.
(Ivanka stands to very halfhearted applause, then sits down.)
As I mentioned, I’m Professor Love and I teach in the Department of Sociology.

(Light applause.)
This is my colleague Professor Santella, Professor of Behavioral Psychology.

(Santella stands and waves to light applause.)
And finally, we have Veera Vasandani, an undergraduate student and a Speech-Hearing-

Language Sciences major.
(Veera stands to loud applause, then sits down.)
Professor Love
Alright, I’m going to pass off the mic to President Ivanka to begin opening remarks. (Passes mic
to Ivanka.)
President Ivanka
(Walks to podium) Hello everyone. Thank you to Professor Love for generously organizing this
event. Since the controversy around the Big Corridor began, I have heard from many of you who
have felt affected by these events. I take your experience at this university very seriously and
hope this event can serve as a safe place for respectful exchange of ideas. Thank you for coming.
(sits back down and passes the microphone to the professor.)
Professor Love
Thank you, President Ivanka!
(Light applause.)
The Big Corridor incident has raised a number of important questions for this university. Where
do we draw the line between free speech and hate speech? How do we create a university that
promotes exchange of ideas without alienating members of our community? I hope we can come
together around some possible answers. (Passes mic to Professor Santella.)
Professor Santella
(Walks to podium, uses calm tone.) I want to say to all of you who have felt personally offended
by seeing the words “Build the Wall” displayed on this campus that I hear you. I hear you. Your
feelings are valid. And, while I can’t speak for all professors or represent the views of this

administration, I hear that you are hurting. That you feel excluded. I am sorry. I thank you for
coming here today and for opening yourselves up to respectful dialogue.
(Janitor walks in to clean up, not realizing people were in the room. The
panelists stop and look in Janitor’s direction, as if they have been
disturbed.)
Janitor
Oh… I didn’t realize there was another panel on diversity here tonight. I guess I’ll come back
after 8 p.m.
(Professor Santella passes mic to Veera.)
Veera
(Stands up in front of her chair) Today I am here representing my fellow students. Many of us
feel the President’s email did not do enough to condemn the violence of the words, “Build the
Wall.” These hurtful words hardly even gave her pause. (Raises fist.)
(All the characters on stage freeze.)
[END OF SCENE 4.5]
Scene 4.6: Daydream Sequence

VEERA, PROFESSOR LOVE, PROFESSOR SANTELLA, PRESIDENT IVANKA, KRITI,
DEVAN, JASON
Setting: The panel session from the previous scene. Dream

world music starts playing (Radiohead:
Daydreaming)
https://www.youtube.com/watch?v=TTAU7lLDZYU
(min. 0-1:19). Positions of characters during freeze:
Veera is holding microphone in one hand and
raising fist with the other. Professor Love looks
bored, rests chin in hand. Professor Santella leans
back in chair with a wistful smile. President Ivanka
has arms crossed, looks annoyed.
At rise: Kriti enters stage right and Devan enters stage left,
each carrying thought bubbles. Kriti crouches
behind Ivanka and Love. Devan crouches behind
Santella and Veera. Jason enters stage right and

moves Ivanka’s hands to cover her ears. Kriti holds
thought bubble over Ivanka’s head for 20 seconds.
Thought bubble reads: “Promoting the brand…
wealthy donors… corporate interests.” Jason moves
Professor Love’s hands to cover her mouth. Kriti
holds the thought bubble for 20 seconds over Love’s
head: “Getting kids from school… Grant
application due in the morning…” Jason moves
Professsor Santella’s hands around her neck.
Devan holds the thought bubble reading “Publish
or perish… Tenure at stake…” for 20 seconds over
Santella’s head. Jason moves Veera’s left hand to
cover her mouth. Devan holds a thought bubble
over Veera’s head that reads: “That term paper is
due… have to pay the rent…worried about DACA
status…” Once everyone has been repositioned and
the audience has time to read Veera’s thought
bubble, a loud drumbeat sounds and everyone
unfreezes. Jason, Kriti, and Devan exit. The dream
music stops.
[END OF SCENE 4.6]
Scene 4.7: Return from Daydream / Interrupted Panel

PRESIDENT IVANKA, PROFESSOR SANTELLA, PROFESSOR LOVE, VEERA,
STUDENT PROTESTORS
Setting: Panel discussion continues. President Ivanka,

Professor Santella, Professor Love, and Veera are
on stage.
At rise: Veera is addressing the audience. The members of
the panel are now tied up with scarves, but they
move as if they are unaware of these constraints.
(Veera looks confused as she removes hand from mouth, continues speech
as if nothing has happened. Other panelists seem vaguely confused,
remove hands from dream sequence positions.)
Veera

Students have relatives who literally crossed the border where Trump wants to build this wall.
Real violences have happened on this border. Talking about a wall conjures the nightmares and
memories that we carry with us as we struggle for recognition in this university.
(Student protesters file into the room, holding signs, chanting and walking
in circles around the panelists. Ivanka, Love, and Santella look shocked.
An energized Veera sets the mic at her seat and falls in line)
Esmae
Hey! Hey!
Others
Ho! Ho!
All together
Racism has got to go!
Esmae
Hey! Hey!
Others
Ho! Ho!
All together
Racism has got to go!
Veera
Whose campus?
Others
Our campus!
Veera
Whose campus?
Others
Our campus!
Veera
Whose campus?

Others
Our campus!
Esmae
(Picks up microphone.) I am here today to represent all students who need a forum to air our
grievances. We are here to DISRUPT!
(Protesters cheer.)
and to remind the university that we belong here and we will not be SILENCED
(Protesters cheer.)
I recently had a meeting with President Ivanka, and she had the audacity to tell me that she
believes protest accomplishes nothing for conversation!
(Audience boos.)
Each of us here have something to say to the panel.
(The protesters gather center stage in a line. After each actor says their
sentences, they lock their hands with the previous one who has been on the
stage as they pass the mic down the line.)
Veera
I want to know why universities continue to allow, uphold, and perpetuate rape culture by not
holding perpetrators accountable for their actions.
Protester (1)
I want to know why my return back home from studying abroad is threatened because of my
immigrant status.
Protester (2)
I want to know why the university refuses to acknowledge and support graduate student labor,
and won’t protect us against the possibility of the proposed graduate student tax.
Protester (3)
I want to know when this university will vocally reject the institutionalization of white
supremacy.
Protester (4)

I want to know why the university doesn’t do more to support low-income students. I’m
constantly struggling to keep up with my classes, hold down two jobs, and pay the rent on time.
And all the while I’m wondering if I’ll even get a job when I graduate…
President Ivanka
(Interrupts Protestor (4), pushes between line of protesters.) Folks! Folks! Unfortunately, we are
out of time. I encourage you to continue these conversations in your offices and classrooms,
instead of by protesting and yelling at each other. I have full confidence that we can talk our way
through these issues. If you are troubled by someone’s expression of free speech, try starting a
dialogue built on respect and understanding. My office door is always open. Goodnight!
[END OF ACT 4]
Transition Verse 3
FULL CAST, LEAD SINGERS, MUNSHID (1), MUNSHID (2), MUNSHID (3)
(Cast comes back and follows Lead Singers.)
Munshid (1)
Where do I stand? With my hauntings, my hurricanes? Your winds, your tides?
(Cast follows Lead Singers and hums.)
Munshid (2)
With our deformations and faultlines? Their floods and fires?
(Cast follows Lead Singers and hums.)
Munshid (3)
Our cleaving worlds, their intricate webs, and all of us caught within?
(Cast hums.)
[END OF VERSE 3]
Act 5
Scene 5.1: Mitu, Chanda, and Nani: Partition

MITU, CHANDA, MADHUMITA (NANI), INTERVIEWER, CORRESPONDENT,
INTERVIEWEE (2), ZOMBIES

Setting: Mitu (Veera) protests along the Big Corridor at Big
University while Madhumati and Chanda make
gajar ka halwa in their kitchen.
At rise: Madhumati and Chanda begin an intense
conversation in their kitchen.
Chanda
(Stirring on the stove.) Hmm, I think this gajar ka halwa is ready now, Ma. What do you think?
Madhumati/ Nani
Oh, it smells really good. The gajar has browned, and I am so glad you didn’t have to run to
your, wo tera Indian store, to get badaam.
Chanda
(Slips into a spontaneous memory about Madhu’s brother.) As Bijju Mama would say, what is
gajar ka halwa without a garnish of khoya and almonds. Lekin, you can never get good khoya
here. Kahin bhi jao, dikhta hi nahi.
Nani
The kind of khoya that I had growing up in Lahore is not even there in Dilli, and your Bijju
Mama…
(Mitu enters, excited, and flustered.)
Mitu
What is that smell? Carrot halwa? Perfect, I’m so hungry! (Rushes to pot of gajar halwa, then to
Chanda and Madhu to hug them.)
Chanda
Are aa gayi, how was your dharna along the Big Corridor?
Mitu
The dharna was fine, this panel we had got on my nerves. Anyway, I don’t want to talk about it
now. (Starts eating the halwa then notices Madhu) Nani, you seem to be so lost in your thoughts.
Please, tell me tell me.
Madhu
Oh... just the smell of gajar ka halwa! It always transports me to a different place and time... like
I was saying, the khoya in Lahore was something else!
Chanda

You two talk about Lahore, I will go get some groceries.
Mitu
Are you going to India Spice House? Get me some Bournvita and Parle G.
Madhu
Arey suno, Haldiram ka nimbu masala bhi leti aana.
Mitu
Papad, too. Bye.
Chanda
Theek hai. If you remember anything else, just text me.
(Mitu and Madhu follow Chanda to the door, pull up two chairs and sit at
the front end of the stage.)
Mitu
(Jokingly.) Finally, she’s gone! (To Nani in a more serious tone.) Nani, you talk about Lahore all
the time! You have so many memories of it. If you loved it so much, why did you leave?
Madhu
Arrey Mitu. Have you heard that saying? We don't write our destiny with our hands. Our
destinies are already written in the lines of our hands! That’s how India’s Partition was. Not just
me, but my Ammi, Baba, Bhaiya, Bhabhi, each one of us loved Lahore. Lahore was home. It still
breathes inside me… We never wanted to leave Lahore. I still remember that day when Baba
said that the partition of India is like an earthquake. He tried to make it sound like something was
shaking our city, but only briefly. He was trying to assure us that everything would calm down in
a few days and things would be back to normal…
Mitu
(Holds Madhu’s hand.) It sounds like things never returned to normal, Nani…
(Interviewer, Correspondent, Interviewee (2) enter the scene. The Zombies

start to enter after them and occupy the floor, around Madhu and Mitu.)
Madhu
(Lost in thought, continuing where she left) I guess, he was right... it was like an earthquake….
But what earthquake finishes when the earth stops shaking? The real pain comes after everything

returns to normal. After the earthquake and its aftershocks… That’s when you realize that the
faults can never be bridged. The wounds can never be healed.
(Nani holds Mitu’s hands and guides her to the ground where they both lie
down, joining the Zombies.)
[END OF ACT 5]
Main shock: Interview #2—Veronica
INTERVIEWER, CORRESPONDENT, INTERVIEWEE (2)—VERONICA, ZOMBIES
Setting: Earthquake struck land

At rise: Feet stomping
(Interviewee (2)—Veronica recites the poem and then joins Interviewer)
La terre se met en colère

Des centaines de milliers de fleurs
A peine écloses
Sont étranglées
Entre les larves dévoreuses de la terre
From Chenald Augustin, La Terre Suspend sa Ronde de Papillon
(Interviewer calls up Interviewee (2))
Interviewer
How did you die?
Interviewee (2)
Me bi wo inuye lè mè yé man. / Mè kon bè mè ha. / Ñ, hala yèn mi bi wo. / Inuy ki u bat?
(SLIDE: English text projected on screen as Interviewee (2) speaks)

I died because I was old. I was not sick. Yes, that’s how I died. Why are you asking?
(Zombies crawl on their backs toward Interviewee (2) with her first word
and accumulate around and on her. As the Zombies speak one by one, they
raise themselves from the ground. The other Zombies’ arms drift in the
direction of the speaking body.)
Zombie (1)
I was on my way out to the grocery store and the walls around me colla…
Zombie (2)

They told me to never speak aga…
Zombie (1)
Let me pass. I have lived a good life. Let these bones rejoin the earth.
Zombie (2)
No! Not until Ayiti has reclaimed the spirit Louverture and become the great Nation it was meant
to be. Not until we have wrung the life from the bloated beast called France.
Zombie (3)
Yes… no… I guess… I don’t know…the cold is draining me of my will to question. Let me
rest…a bit…a minute…to think.
[END OF MAIN SHOCK]
Act 6
Scene 6.1 - EARTHQUAKE
CHORUS, INTERVIEWER
Setting: Unnamed site of earthquake.

At rise: Four actors forming the chorus stomp with backs to
center stage and recite refrain (2x) with gestures
and moving bodies. During stompings, Sara is with
the crawling zombies.
Chorus
(As the four actors in the Chorus fall at “we fall,” Sara gets up and walks
to the front of the stage. As Sara speaks in Arabic, English text is
projected on screen)
Interviewee (3)—Sara
You ask me how my spirit left my body behind
‫وارى في سؤالك نافذة تطل على جموع لطالما‬
‫تجاهلتني‬
[And I see in your questions a window to masses that have long dismissed me]

‫آذان تتنصت ولكن ال تسمع‬
‫]‪[Ears eavesdropping, but do not listen to me‬‬
‫و عيون تبحلق ولكن ال تبصر‬

‫]‪[Eyes staring, but do not see me‬‬
‫‪all you see‬‬ ‫‪this veil‬‬

‫‪all you hear‬‬ ‫‪sound bites‬‬
‫‪Illegible‬‬ ‫‪unintellegible‬‬ ‫‪Soundbites‬‬
‫احاول ان اترجم لك ما يجول في خلجات نفسي‬

‫]‪[I try to explain to you what is hidden in my soul‬‬
‫الم و امل‬
‫]‪[pain and hope‬‬
‫لهيب غضب وخذالن‬

‫]‪[the fire of anger and disappointment‬‬
‫‪still all you hear‬‬ ‫‪sound bites‬‬

‫‪Empty‬‬ ‫‪Hollow‬‬ ‫‪Soundbites‬‬
‫‪you nod‬‬ ‫‪smile‬‬ ‫‪look away‬‬
‫‪Hashtag prayers and thoughts you send my way‬‬
‫)‪(Sara walks to the interviewee chair and takes a seat.‬‬
‫]‪[END OF SCENE 6.1‬‬
‫‪AFTER SHOCK: INTERVIEW #3 - SARA‬‬

‫‪Interviewer‬‬
‫?‪How did you die‬‬
‫)‪(Zombies mimic Interviewee (3) for 20 seconds as she speaks.‬‬
‫‪Interviewee (3)/ Sara‬‬

‫كنت نايمة في الغرفة‪ ،‬ارتاح شوي… كان يومي طويييييييييييل‪ .‬تدري اليوم كان عيد ميالد عيالي حمود وفطومه واشقد تعبت‬
‫وانا ارتب واطبخ والبًس واآكل‪ .‬وعيالي هللا يحفظهم اشقد مشاغبين‪ .‬وبعد الحفلة وزحمة اليهال والعشا وااللعاب‪ ،‬نيمتهم ودشيت‬
‫احط راسي عالمخدة ابي ارتاح‪ .‬وما وعيت اال وخلودي ولدي العود يصرخ من قمة راسه… يما يما قعدي يا يما! البيت يهتز‪،‬‬
‫هزة ارضية… يوم القيامة… وبعد عمري من الخوف والهلع ما وهلني‪ ،،‬وصرخت اقوله خذ اخوانك‪ ،،‬حمودي وفطومه!‬
‫ركض ياخذهم قلتله كاني وراكم يا وليدي‪ ..‬وخلودي عيني طلع يركض ويبجي وانا صرت ادور في الخزانة ابي اخذ جوازاتهم‬
‫واوراقهم الثبوتية وماذكر بعدين اشصار‪ ..‬ما قط شفت هزة ارضية‪ ..‬سبحان هللا هاي حكمة رب العالمين واحنا ما نقدر نعترض‬
‫على حكمته‪.‬‬
‫‪Fractured Threads, 11 Dec 2017, page-45‬‬

(SLIDE: English text projected on screen as Interviewee (3) speaks.)
I was lying in my bed, trying to rest… It was a long day! You know, it was my children’s
birthday: Hamood and Fatooma. I was so tired. I had to organize, clean up, dress the
children, and feed them! My children, may Allah protect them, they are so full of energy!
After the party, and kids running around, after dinner and the games, I tucked them in
bed and I went to bed myself to rest. The next thing I remember was waking up to my
eldest son, Khaloodi, shouting: Mama, wake up! Mama, wake up! It’s judgement day!!!
My poor beloved son, he was so scared… panicking, he didn’t give me a chance to
respond. It was so quick. I screamed at him that he needed to pick up younger siblings:
Fatoom and Hamood, get them and run out! I will be right behind you! My dear dear
Khaloodi, ran out. He reminded me of his father. He looked like a grown man in that
moment. I ran back to the safe, I have to get their passports and documents! The next
thing I remember... the walls collapsing, I heard people screaming- I've never seen an
earthquake! it's a divine act that no one can prevent.
(Interviewee (3) about to talk more, but Interviewer gets up and walks
away)
[END OF ACT 6]
Act 7
Scene 7.1: COUNTING

JASON, INTERVIEWER/ ACCOUNTER, SARA, CHORUS
Setting: Unnamed site of earthquake
Interviewer/Accounter
1,3, 5, 10, 15, 30
(Jason dances over and through bodies, keeping a watchful eye on

Interviewer/ Accounter).
Interviewer/Accounter
(Continues his recitation.) A hand, a bloodshot eye, a chest burst open;
Its heart a fleshy tatter among the wind, I count the bodies.
Someone has to.
One splayed across the stoop of a convenience store.
Another, encased within a bookshelf.
One still clutching his bowl of fried plantains, sprinkled in dust.
A tiny one among other tinier ones, ringed by the rubble of a schoolhouse.
Another caught in an embrace between a headstone and the grave of their passed mother.

You may assume that I simply inventory the dead, a portrait of a corpse to showcase to the
world.
But what I track is absences.
The empty spaces outlined by flesh where a life once was.
You see - one will never fail to find a body.
I labor to account for the living that once was here.
(Jason pulls Sara out of pile of bodies, helps her out to stand among
living, gives her water. Other bodies mimic Sara silently.)
Sara
Where am I? Who are you?
Jason
I am here to save you!
Sara
Save me from what?
(Bodies mimic Sara silently. Then all freeze.)
Chorus
We rumble, We rumble, We fall.
[Fade out. END OF ACT 7]
Ending Verse
LEAD SINGERS, FULL CAST
Setting: Fade in as singers take their place at center stage.

At rise: When the light comes on the singers, they begin.
↓Oh can we remember (Unison.)

It must have come from the flood
Falling out of that earthquake
Turning land into mud

↑and when we are parted
plant my body in the ground
so roots of new mem’ries
can grow all around
(Full lights come on. The cast comes on stage and bows.)

Fractured Threads - AGITATE! Vol. 3

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Fractured Threads - AGITATE! Vol. 3

Uploaded by

Copyright:

Available Formats

Artistic Direction, Sound, & Lights:

Course Conceptualization, Organization, & Facilitation:

Fractured Threads, 11 Dec 2017, page-1

Lights come on.

Actor (1) & Actor (2)

[Fade out. END OF OPENING]

Scene 1.1: Overture

Fractured Threads, 11 Dec 2017, page-2

↓Oh can we remember (Unison.)

Cast enters and surrounds Lead Singers in semi-circle

↓I lined my toes up (Unison.)

(Ensemble joins in at melody.)

↓And can we remember (Unison.)

Fractured Threads, 11 Dec 2017, page-3

Entire cast is on center stage, humming, and standing in line, shoulder to

[Fade out. END OF VERSE 1]

Scene 2.1: Graduate Student Nightmare

Fractured Threads, 11 Dec 2017, page-4

(Sleeping Julie yells in her sleep. Graduate Student next to Nightmare

Fractured Threads, 11 Dec 2017, page-5

[END OF SCENE 2.1]

Scene 2.2: Apartment

Setting: Julie’s and Keavy’s apartment.

Fractured Threads, 11 Dec 2017, page-6

(Drumbeat begins to cue flashback)

(Characters enacting the New Orleans scene appear in the background

[END OF SCENE 2.2]

Scene 2.3: Grocery Store

Setting: SLIDE: Photo from New Orleans. A grocery store

Fractured Threads, 11 Dec 2017, page-7

(Julie switch on lamp as Keavy narrates to her. The crew freezes.)

Fractured Threads, 11 Dec 2017, page-8

(Debbie and Justine float up on a mattress, paddling through the streets.

Fractured Threads, 11 Dec 2017, page-9

Fractured Threads, 11 Dec 2017, page-10

(Each person chooses a song to hum and tentatively plays on instruments

(All other members of the Cast join in.)

To do right by these stories

Fractured Threads, 11 Dec 2017, page-11

As the storm surge sank

All told, 80% of all structures in New Orleans were marked by an X.

I am telling you all of this because

Fractured Threads, 11 Dec 2017, page-12

But I can be raped.

Fractured Threads, 11 Dec 2017, page-13

Scene 3.1: Mitu, Ma, and Nani

Setting: Mitu (Veera), Chanda (Mitu’s mom), and

Fractured Threads, 11 Dec 2017, page-14

Fractured Threads, 11 Dec 2017, page-15

Fractured Threads, 11 Dec 2017, page-16

Fractured Threads, 11 Dec 2017, page-17

Fractured Threads, 11 Dec 2017, page-18

Fractured Threads, 11 Dec 2017, page-19

Fractured Threads, 11 Dec 2017, page-20

Setting: Bodies on the floor. Interviewer, Interviewee (1),

Interviewee (1)/ Beaudelaine

Fractured Threads, 11 Dec 2017, page-21

(SLIDE: English text projected on screen as Interviewee (1) speaks.)

Fractured Threads, 11 Dec 2017, page-22

(SLIDE: English text projected on screen as Interviewee (1) speaks)

(Correspondent directs bodies to move and speak.)

Scene 3.2: Mitu and Jagan

Setting: Mitu goes into another room and looks at a sheet of