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Community Development Education Entertainment Health and Wellness Jessica Harris

Jayla Rose Hart & The Black Monologues

by Jessica Harris; featured photo of Jayla Rose Hart by John Robinson

You might not have heard of multi-hyphenate artist and poet Jayla Rose Hart, but undoubtedly it won’t be long before you do. Jayla’s star burns brightly and, thankfully, she has no plans of dimming her shine any time soon. 

Over cups of herbal tea, Jayla smiles and tells me that she is a “poet, researcher, writer, baker, and woman who likes to just pick up hobbies and run with them.” At the end of the day, she says, “I am a creator.” 

Without a doubt, this phrase captures Jayla’s essence quite well. Jayla is a poet and spoken word artist who seems to never stop creating. In addition to writing, her art forms include fashion design, painting, performing – and even, in her view, research and policy work. You name it, Jayla does it. 

The second youngest of eleven children, Jayla was born in Harlem, New York City, but was raised in Las Vegas, Nevada. “I like to say I proudly claim both coasts,” she grins. “I’m happy that my home is pretty well-scattered across the U.S.”

Jayla’s now spent the past five years in Charlottesville where she prepares to graduate from the University of Virginia with a Master’s in Public Policy. She also completed her undergraduate degree at UVA, creating her own major focused on socio-political psychology with a minor in Global Studies in Education. This combination of foci is another example of her innovative – and often interdisciplinary – spirit. 

She’s always found ways to weave poetry into her work. For her undergrad thesis, she wrote a poetry book that detailed how Black women find belonging at predominantly white institutions. Rather than relying only on academic literature, she prioritized the real-life experiences of Black women. “And poetry was a really beautiful way of achieving this,” Jayla said.

Her interest in poetry is perhaps unsurprising, as she is the daughter of a librarian and has held a love for writing for as long as she can remember. At UVA, Jayla found a home at Flux Poetry and Spoken Word. She served on Class Councils, as an orientation leader, and as co-chair of Housing and Residence Life. Most visibly, her poem “My Serpentine” was featured in the dedication of UVA’s Memorial to Enslaved Laborers. 

Jayla is, as you say, good with words. She crafts them in such a way that leaves folks sparked to act, reflect, and connect. “My artistic mission statement really is ‘how do I find different forms to heal?’ There are so many different ways that I get to express myself, and I feel in each of those honest, creative expressions, a part of myself is healing,” she said.

 

blossom with no end

by Jayla Rose Hart 

one day, baby blue skies bury themselves behind rainclouds. the next, they briskly shed off their grayness and blush beneath the sun. 

somewhere in between, I find myself doing the same.

spring is my soul season.

the time of my beginning which always end with a humbling realization that I am still alive, still allowed to redefine myself.

 

Her writing and mission led Jayla to be perfectly positioned to work on The Black Monologues (TBM).  Entering its eighth year, TBM provides a platform for Black students to write, star in, and direct a production that tells their authentic stories via monologues and spoken word. Prior to the COVID-19 Pandemic, The Black Monologues were held on the stage, but have since shifted to the virtual format. 

a woman in a dorm room
“the representative.” Photo of Bryce Kirkland from The Black Monologues 2023. Cinematographer: Jackson Kosmacki; Editor: Joshua Elias Palmer

“It really is about students being able to tell our experiences of Blackness,” Jayla says. “And however that experience is captured, we as a team figure out the best way to share that story with other people.” 

However, this year’s production was different. Following the tragic shooting last November that took the lives of Devin Chandler, Lavel Davis Jr. and D’Sean Perry, the TBM team took time to heal and recuperate. Some participants – including Jayla herself – were present on the scene that night, and wanted to ensure that the production could serve as a tool for healing. 

The spring 2023 film is also unique in that it features solely 13 Black women as the cast. “Given the nature of the group,” Jayla shared, “we really wanted to focus it on Black womanhood, sisterhood, and how the Black diaspora in and of itself exists, even in a place like UVA.” As such, this year’s show is titled “Portraits of a Free Woman,” and the show’s pieces tackle topics like Black joy, grief, navigating community, and more. 

a group of women seated outside
“we are our own movement.” Photo of Cameron Chavers and Mary Hall, The Black Monologues 2023. Cinematographer: Jackson Kosmacki; Editor: Joshua Elias Palmer

 

by Jayla Rose Hart 

hear the crescendo of all the Black girls who refused to die, all the Black girls who survived.

all the Black women mourning their sisters and mothers and grandmothers and aunties

and always make time to mourn everybody else in between.

hear the harmony from the Black girls who are still healing,

from the Black girls who are ready to be Black women,

for the Black women who proudly claim their freedom.

I swear you’ve never heard a sound so liberating.

 

Jayla participated in TBM the past three years, starting as a writer then adding performer to her title. This year, along with Micah Ariel Watson, Jayla wore many different hats – writing three of the show’s seven pieces and providing directorial support in the creation of the film. It was a herculean lift, considering the entire production had to be written and completed in eight weeks. 

Despite this hefty charge, Jayla notes that the production meant so much to the cast and crew. “It captures how important it is to have the arts, however that comes to you, because I think there’s still a lot of sorrow, pain, and grief that’s happening not only within UVA, but within Charlottesville more broadly,” she said. “Things are definitely challenging, but through art, we bond and carry each other through difficulty.”

two women embrace
“Temesgen (Thank God in Tigrinya, my native tongue).” Photo of Alexis Stokes and Luna Alazar, The Black Monologues 2023. Cinematographer: Jackson Kosmacki; Editor: Joshua Elias Palmer.

As for the audience, Jayla hopes that after people watch TBM, they “feel just like they’ve been swaddled by a warm hug,” she laughs. “I hope this film is that hug where you’re like, ‘Oh, thank you for hearing me and embracing me and allowing me to hold this space for myself to feel.’” 

“It really validated for me that this is the work that I want to do with my life,” Jayla said. 

After graduating in May, Jayla is moving to Washington, D.C. to work as a Research Analyst in the areas of affordable housing and community development. But rest assured, her art isn’t going anywhere. “My biggest goal is getting a publisher so I can publish my first full-length book. I’m also really excited to start publicizing my poetry,” she said. 

As we sipped the last of our mugs of tea, Jayla shared her closing thoughts. “To whoever reads this,” she said. “I hope that you take away that poetry and the written word are wonderful ways that we get to capture each other’s stories. For Black women and Black folk in general, a matter of us being able to tell our stories on our own terms, using our own language, is such a beautiful thing that we should not take for granted.” 

This, dear reader, is a message worth heeding. And who better to lead this charge than Jayla Rose Hart. 

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To watch the Black Monologues, visit: https://vimeo.com/825297214/dde18f0971 

To connect or learn more about Jayla, you can follow her @rosejayhart on Instagram 

Categories
Arts Chris D. Evans Community Development Entertainment Jessica Harris

Chris D. Evans Directs Seven Guitars

by Chris D. Evans and Jessica Harris 

Actors rehearse for the play Seven Guitars by August Wilson Photo Credit: Ézé Amos

The Charlottesville Players Guild (CPG) at the Jefferson School African American Heritage Center (JSAAHC) presents Seven Guitars by August Wilson now through Sunday, March 5, 2023. Seven Guitars, a classic play by prolific Black playwright August Wilson, takes place in the backyard of a rooming house in the Hill District of Pittsburgh in 1948. Lead character Floyd “Schoolboy” Barton has a hit record on the radio and wants his band and his partner Vera to go with him to Chicago to record an album and make it big.

Chris D. Evans, seen as Cesar in Gem of the Ocean in the CPG’s last season, makes his directorial debut. He brings with him a cast originating from Lynchburg, Virginia to JSAAHC to perform. Evans has been a professional actor, working on stage and in film for over 30 years. 

In this article, Chris shares his thoughts on the show and the process, and reminds us why this play is still significant to Black folks today.  

About CPG: Charlottesville Players Guild works to ensure a safe space for Black artists to create, learn and grow in all aspects of live theatrical production. Under the umbrella of public programming for the Jefferson School African American Heritage Center, CPG is concerned with telling Black stories from the Black perspective within the 20th Century.

Tickets can be purchased online here for virtual or in person shows. Shows are at 7:30 p.m. Thursday through Saturday, and 2:00 p.m. on Sunday. To see more about CPG’s upcoming season, including its completion of the entire body of August Wilson American Century Cycle, which includes 10 plays, visit here.

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They got roosters in the yard!

by Chris D. Evans

In the 1940s, Black men wanted what all men would: to be treated fairly, to be paid what was owed for their labor, and to own a piece of something. Following the win and end of WWII and the 1948 executive order abolishing the ban of Black men in the armed services, little changed in how Black men were treated in the South and the North in the United States, which leaves me to ask, “Will we get what we deserve?”

Pulitzer Prize-winning playwright August Wilson (1945- 2005), known for works like Fences (1987) and Ma Rainey’s Black Bottom (1984)

The stageplay Seven Guitars by August Wilson, set in Pittsburgh, Pennsylvania in 1948, shows Black folk with dreams, hopes, and promises ruled by fate. Whether Black folks are seeking a better life or fulfilling the promise of their fathers –to live better than they had—they are concerned for one another’s wellbeing, as family, while sharing recipes, a home, and good music.

August Wilson is seen by many to be the Black William Shakespeare or our time. He writes about the lives of Black folks we are familiar with. He has created a road map of Black history through his plays, and many people would never get to see or hear our history any other way.

Wilson demonstrates in this play that food and music have always been integral to the communities created by Black folks for as long as we have existed. Whether in the country or city, Black folks have gathered to celebrate births, anniversaries, and deaths. In the preparation of meals, stories, and songs, Black folks continue oral histories and traditions. Black folks continue to teach the next generation by keeping the past alive. Songs, hairstyles, recipes, and advice—wanted or not—are just a few ways the traditions are preserved.

In this work, blues music sets the tone for Black folks during this time, becoming another character in Seven Guitars. Blues music was being performed by both men and women in the late 40s. Black folk like Big Mama Thornton, Big Joe Turner, and Sister Rosetta Tharpe were topping the charts with guitar and harmonica players, and some of the most noted and powerful voices of a generation. Their hit records were and are still being played on the radio.

Seven Guitars is set in the backyard of a rooming house. There were several Black folks living with animals in the yard, front and back– communities where some residents had chickens, pigs, and roosters in the yard. It may not have been appreciated by a few of their neighbors, but it was more common than we would think. The adage is true, “You take you with you wherever you go.” I guess one can move to the city and keep their country ways.

What interests me about this play is the how we Black folks move from city to city creating family and community of folks caring for one another. Since the Great Migration, we have had Black folks from all over the South moving North, bringing with them the flavors of home, and tied together by common love and interest. In Seven Guitars, a group coming from other places came to call Pittsburgh home.

While I am generally happy on the stage, directing has always been in the back of my mind. And while I hold a few film credits, I enjoy the energy received from a live audience. It is hard to sit back and watch others create, but so rewarding to watch the final product. 

My journey into directing this play could not have been more rewarding. I have acted in two August Wilson productions, but this is my first time directing. There was a dream some said would be impossible: to bring together a group of Black folks, rehearse a play in one city, and then perform in a different city. A few told me it could not be done, but I saw there was a common love and interest in telling Black stories– honoring those who have come before us and celebrating in making Black History. Many people will find they recognize the characters in Seven Guitars. You have been with them, lived with them, and they are family.

In Seven Guitars, characters build family with those they choose. It is the love that these people show that will have you tapping your feet, humming along, and laughing with joy.