Generations of fighters, of freedom seekers, of tenacious Sankofa women come to a beautiful culmination in the being of Benu Sankofa. The final play in The Sankofa Trilogy, word! sound! powah! takes on issues old and new as Benu and The Poets in Solidarity long for a truly independent Jamaica. This last instalment of the trilogy cements the ideas and themes of what has come before, while also giving us hope for a bright future.

word!

“Once upon a time…” this final story in The Sankofa Trilogy starts like so many we’ve heard before, but goes far above and beyond your traditional bedtime story. Benu Sankofa has grown up in Jamaica, under the guidance of her own granny, Mudgu Sankofa (the main character of blood.claat). While at school, she meets The Poets in Solidarity, a group of young people attempting to effect change in their now liberated, yet still exploited country. When things go awry at a rally on Election Day, Benu suddenly finds herself in custody, being questioned by a brutal and unyielding constable. Unafraid of this constable or his threats, Benu stands firm for herself and her friends, harnessing the ferocity of her ancestors to defend herself and those she loves.

To see all of the masks from all three shows adorning the walls of Rachel Forbes’ set design is a stunning visual reminder of the journey we’ve been on with this cast. Candice Dixon’s costumes exude the vibe of this text, with portraits of revolutionary heroes past adorning their shirts, and the classic berets in various colours being worn by the Poets. All of this works perfectly in tandem with the text to create Benu’s world.

sound!

Before you enter the theatre, you can hear the drums. d’bi.young anitafrika and the Griot Posse (KayGeni, Kabrena Robinson, Keira Forde, and Josemar) create the heartbeat of the show even before it begins. The music continues throughout the performance, with anitafrika’s voice ringing through the theatre in the opening song. Evocations of the ancestors, passionate protest poetry, and dazzling dance accompany the drum’s pulsating rhythm throughout word! sound! powah!.

anitafrika is spellbinding as Benu Sankofa (and others), bringing the same sense of sincerity and passion to their characters as we’ve seen with the rest of the Sankofa women they’ve embodied. The Griot Posse each get their time to shine as they play the various Poets in Solidarity: Kiera Forde’s stamma is a human of few words, but uses their powerful body to dance their way to understanding. Josemar’s sage is the wise one of the group, though it’s hard to tell if that comes from lived experience or some ganja-inspired insights. Kabrena Robinson’s peaches is all kinds of feisty and sassy, while also attempting to have everyone keep a level head. KayGeni is truly a musical weaver, playing several instruments with ease and keeping the pulse of the play alive.

powah!

word! sound! powah! is inspirational on many levels; not only does it fit into the current discourse in media about revolutionaries and the lengths one must go to, and have gone to, to fight for justice and freedom, but it does so in a way which speaks to multiple time periods. The play itself is set 1980 in Jamaica, a tumultuous time post-British rule when the citizens were tired of the way they were being treated since liberation. Yet their protest signs and discussions in the play include mentions of Gaza, the current American president, and more. Throughout The Sankofa Trilogy we’ve been made aware that time and storytelling aren’t linear, and blending of issues and slogans exemplifies this idea. It’s a poignant reminder that the fight isn’t over, and we can all do our part to aid in the struggles of the world.

What’s more is that feeling of the mystical, the magical, which surrounds the performers and these stories. Since its inception and first performances twenty years ago, The Sankofa trilogy has been redefining the idea of monodrama and how we can present ourselves and our stories on stage. In word! sound! powah! you can feel the gravity of what it is to bring all of these things to life, to blend the real and the mythological to create something which speaks to all of us. I am grateful to have been asked to witness these plays, to witness the lives of the Sankofa women and to be inspired by their persistence. These plays are going to stay with me for a long time, and I can’t wait to see how they’ll be adapted and performed next.

You can see word! sound! powah! on its own until October 10, and then as part of the Marathon Weekend on October 11 and 12. For more information and tickets, visit: https://theatrecentre.org/event/sankofatrilogy/

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Cover Photo: d’bi.young anitafrika and Kabrena Robinson. Shot By Selina McCallum.

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