even productions

p.o. box 18175, cleveland heights, ohio 44118 (216) 321-0692

On Friday, December 1, 1978, at 8:30 p.m. at Cuyahoga Community College Metro Campus Auditorium, Oven Productions is proud to present "Sweet Honey in the Rock". This group is coming to Cleveland with two albums to their credit and an #extensive performing history. The albums are "Sweet Honey in the Rock" (Flying Fish) and the recently released "'B'lieve I'll Run On... See What the End's Gonna Be" (Redwood Records). Together since 1974, Sweet Honey's' concerts have included such events as the League of Women Voters National Convention, 1978, Operation Push, Chicago, 1978, Smithsonian Concert of American 'Protest Music with Pete Seeger, Washington, D.C., 1978, International Women's Year Conference, Houston, Texas, 1977, Michigan Women's Music, Festivals, 1977 and 1978, and the National Women's Music Festival, Champaign, Ill., 1977, among many others. The respect and acclaim this group has generated stems from their integrity and presence as Black women and their heautiful treatment of their lyrics. The content of their songs is a combination of the traditional folk music of the Black church and con.munity, with sources in the culture of West African ancestors, and original lyrics written and adapted to contemporary political issues,' events, and people. They particularly pay tribute to the ,strength and faith of Black women Sojourner Truth, Fanny Lou Hamer, Joan Little.

Each member of the group brings life experience that embodies the struggle and triumph of the music. Bernice Reagon is a long-time civil rights activist, one of the original SNCC Freedom Singers. Evelyn Harris comes from Virginia and a long performing history there. Yasmeen Williams also found music and political harmony in the group, after working with Bernice Reagon in the Black Repertory Theater in Washington, D. C. Patricia Johnson, also singing all her life, brings the experiences and strength of Black women in her own life and her struggle to keep her own family together. As Sweet Honey comments on their own identity:

We are a group of Black women singing... By singing together we become more ourselves. We create the additional space to be who we are. We are serious about being Black people and women people and singing people and reflecting that in our work.

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Critical acclaim has followed Sweet Honey in the Rock everywhere they have performed. One critic in particular, Susan McHenry, has provided some very thought-provoking commentary on the music and performances of the group. A Black woman and contributing editor to Ms. magazine, she writes:

"Four black women, dressed carefully but casually in earth colors, settle into chairs grouped at the edge of the stage. They lean forward, feet slightly apart and firmly planted, hands resting lightly on knees. They sing acapella, in a style at once intricate and spare and freely accented by foot-tapping, thigh-patting, and hand-clapping. They call themselves 'Sweet Honey in the Rock' and anyone expecting just to boogie or to hear a few spirituals is in for a surprise. Their music pulls at you demanding some deeper response, a more conscious commitment than applause. Irresistibly you are moved to lend your own hands and voice.

'Sweet Honey' makes me remember the voices of my grandmother and my great-aunts but remember them with a new understanding, rather than with nostalgia."' (Ms., September, 1978)

Perhaps more interesting are McHenry's comments on a "Sweet Honey' concert held March 12, 1978, Paine Hall, Harvard University, produced by

audience was going to pervert the powerful sharing and exchange we knew should exist between the women on the stage and the women in the targë hall. We also talked about our wariness of a certain latent racism we see so often among white women who profess feminism and appropriate black symbols, strategies, and forms of expressing struggle and solidarity without bothering to acknowledge and respect the source.

Finally, a Black woman stood in courage and in anger and challenged the audience to act on the enthusiasm they felt about 'Sweet Honey's' energies by returning some of their own energy.

The audience's initial response was born of guilt, so of course at first it was awkward. Bernice had to chide them about clapping too loud and drowning out the lead. Yet this same initially unresponsive and awkward group of people eventually rose to affirm and prove that building bridges and making new connections is possible.

When the four Black women intoned, 'Every

Oven Productions Presents SWEET HONEY IN THE ROCK

Artemis Productions, a Boston-based women's production company.

"Ultimately, what I admire most about 'Sweet Honey in the Rock' is their courage and generosity. They are drawing on the strength of the souls of Black folk and of Black Women in particular, and extending it to a larger family. They initiate novices with exacting patience. And in an audience predominated by white women, most were new to the music -and to the feeling. 'Do you understand that I'm feeding you the line?' inquired Bernice when participation became ragged. 'Sing in harmony,' she admonished, unwilling to accept less than best efforts.

The evening audience initially gave less than their best efforts. They seemed to prefer showing their enjoyment and approval of 'Sweet Honey in the 'Rock' by silent and intent expressions on their faces during the songs and loud applause afterward.

I was sitting with two other Black women, and while we were having a good time, we shared many contradictory and disquieting feelings. There was a clear contradiction in Harvard University's music building ringing with the rhythms and harmonies of traditional Black music, an irony which in general prompted a certain feeling of triumph and satisfaction.

But then we began to wonder if this quiet white

woman who ever loved a woman/Ought to stand up and call her name,' every woman in the auditorium stood on her feet. 'Mother, sister, daughter, lover,' the song continues, claiming the importance of testifying about the deep and intimate ties that women share in so many contexts.

Thinking about that incident, I realize that it's only an accident of birth and heritage that my Black sisters and I can hear the voices of grandmothers and great-aunts in the music of 'Sweet Honey in the Rock.' It's an important accident, however, because it has shaped our lives so differently.

But white women who learn to see this fact clearly and who can acknowledge it without the awkwardness that comes from guilt will be able to give their hands and voices to the music of our common struggle without reservation or restraint. And it will be a transforming experience for all of us."

(Equal Times, April 9, 1978)

Oven has traditionally drawn predominantly white audiences. We choose to quote a Black woman in this article who experienced "Sweet Honey in the Rock" in a similar environment. We think her comments are to the point, and agree wholeheartedly with her perceptions. All of us in the Oven collective hope to broaden our understanding, and we hope that our audience shares our openness.

continued on p. 13

November, 1978/What She Wants/Page 11