Khalid Yaya Long

Role: 
Teaching Assistant
Address: 
CSPAC 1801

Khalid Yaya Long, is a doctoral candidate and adjunct faculty in the Theatre and Performance Studies program at the University of Maryland, College Park. While Khalid is versed in a number of areas in theatre and performance studies, his research and creative works center on Black theatre and performance, with specific attention paid to the intersection of race, class, gender, and sexuality within marginalized and oppressed communities. Informed by his academic interests, Khalid’s practical areas include dramaturgy, directing, and acting. Hailing from Philadelphia, Pennsylvania, Khalid holds a Bachelor of Arts in Theatre Arts from Cheyney University of Pennsylvania, America’s Oldest Historically Black College, and a Master of Arts in Theatre Studies from Miami University of Ohio. After earning his Master’s degree, Khalid opted to stay at Miami and work towards a second Master’s in English literature with a focus in Black literature and performance studies.

Khalid’s dissertation, entitled “War, Trauma, and Transnational Feminism: Glenda Dickerson’s Kitchen Prayer Series and Post-9/11 Theatre,” brings together several of Khalid’s research areas to consider wide-ranging, social-political concerns. Using the work of Black feminist artisan and pedagogue Glenda Dickerson (1945-2012), Khalid’s dissertation adds to growing body of scholarship on post-9/11 theatre by examining one of Dickerson’s final projects, the Kitchen Prayer Series, a trilogy of performances responding to the tragic events of September 11, 2001: Performance Dialog on 9/11 and Global Loss (2002), Identities on Trial: A Kitchen Protest Prayer (2003), and Sapphire’s New Shoe: The Kitchen Table Summit (2004). Created as a dramatized presentation of actual words of women, accumulated from contemporaneous sources such as newspapers, magazines, broadcast media and other sources from across the world, these performances present a diverse array of women’s views on the turbulent nature of violence and war. With the trilogy, Dickerson embarked on a journey asking “What is it like for women all around the world to live with war and terror daily?” Thus, Khalid’s dissertation argues that Dickerson’s trilogy creates sites of transformation and transference through a transnational feminist paradigm. Conducting an historical and theoretical analysis of the Kitchen Prayer Series, this dissertation aims to examine Glenda Dickerson’s artistic and scholarly contributions to the interdisciplinary fields of theatre and performance studies, Black women’s scholarship, and the trending discourses on war and terrorism.

Education/Training: 

MA, Theatre Studies, Miami University, Oxford, OH

BA, Theatre Arts, Cheyney University of Pennsylvania

Publications:

Long, Khalid Y. “Alvin Mayes: The Magic of Black Dance” Black Masks (Forthcoming, summer 2016). 

Long, Khalid Y. “Mourning, Orature, and Memory: Cultural Performativity as Historiography in Pearl Cleage’s A Song for Coretta,” Continuum: The Journal of African Diaspora Drama, Theatre and Performance, June 2014. www.continuumjournal.org 

Theatre Program Articles:

Long, Khalid Y. “Octavia’s Brood: Riding the Ox Home, An Interview with Meghan Abadoo,” Octavia’s Brood by Meghan Abadoo, Dance Theatre, UMD.

Long, Khalid Y. “Untapped Stories: Lynn Nottage’s Intimate Apparel,” Program Book, Intimate Apparel by Lynn Nottage, Kay Theatre, UMD.

Long, Khalid Y. “Explorations of History in Dominique Morisseau’s Sunset Baby,” Program Book, Sunset Baby by Domonique Morisseau, REP Stage, Howard County, Maryland.

Long, Khalid Y. “Nina Simone – a Musical Genius, a Courageous Activist,” Program Book, Sunset Baby by Dominique Morisseau, REP Stage, Howard County, Maryland.

Long, Khalid Y. “Black America’s Struggle for Freedom and Equality: The Black Liberation and Black Freedom Movements,” Sunset Baby by Dominique Morisseau, REP Stage, Howard County, Maryland.

Long, Khalid Y. ““Can’t We All Just Get Along:” Anna Deavere Smith’s Indelible Mark on American Theatre,” Program Book, Twilight: Los Angeles, 1992 by Anna Deavere Smith, Kogod Theatre, UMD.  

Long, Khalid Y. “A Road to Nationhood” Program Book, Beneatha’s Place by Kwame Kwei-Armah, Center Stage Theatre, Baltimore, MD.

Long, Khalid Y. “Critical White Studies: An Overview,” Program Book, Beneatha’s Place by Kwame Kwei-Armah, Center Stage Theatre, Baltimore, MD. 

Dramaturgy (representative):

2016 Full Circle: Bridging the Gap by Chris Law, Choreographer, Dance Theatre, UMD. December. Production Dramaturg – Danceturgy.

2016 Milk Like Sugar by Kirsten Greenidge. Directed by Jennifer Nelson, Mosaic Theatre, Washington, D.C. October. Production Dramaturg.

2015 Intimate Apparel by Lynn Nottage. Directed by Jennifer Nelson, Kay Theatre, UMD. October. Production Dramaturg.

2015 Octavia’s Brood by Meghan Bowden, Choreographer, Dance Theatre, UMD. October. Production Dramaturg – Danceturgy.

2015 Sunset Baby by Dominique Morisseau, Directed by Joseph Ritsch, REP Stage, Howard County, Maryland. April-May. Production Dramaturg.

2014 Twilight: Los Angeles, 1992, by Anna Deavere Smith, directed by Caroline Clay, Kogod Theatre UMD. February. Production Dramaturg.

2013 Beneatha’s Place, by Kwame Kwei-Armah, World Premiere, part of “The Raisin Cycle,” Directed by Derrick Sanders, Center Stage State, Baltimore, Maryland. May. Assist. Dramaturg.

Conference Presentations

2016 “Staging Ground Zero: A Black Feminist Intervention in Post-9/11 Theatre,” for working group “War: Acts of Transgression and Transformation,” American Society for Theatre Research, Minneapolis, MI. November. (Forthcoming)

2016 “Theatre at Historically Black Colleges and Universities: Legacy, Present and Promise: A Roundtable,” Black Theatre Network, Chicago, IL. August.

2016 “War, Trauma, and Transnational Feminism: Glenda Dickerson’s Kitchen Prayer Series,” Association for Theatre in Higher Education, Chicago, IL. August.

2015 “Recovering Narratives: Examining Black Women Theatre Artists at Historically Black Colleges,” Association for the Study of African American Life & History, Atlanta, GA. September.

2015 “Building a Career in Dramaturgy,” Black Theatre Symposium, University of Maryland, College Park and African Continuum Theatre. February.

2014 “From Beat Bohemia to Hip-Hop: The Genealogy of Amiri Baraka,” Black Theatre Network     New York, NY. August.

2014 “Did Somebody Say Post?: From Post Black to Post-Race Theatre,” Roundtable: “Dreaming Lorraine: Meditations on New Landscapes of Theatre and Performance within the African Diaspora,” Black Theatre Network, New York, NY. August.

2014 “I, too, Sing America:” August Wilson and David Henry Hwang (Re)define American Theatre,” Comparative Drama Conference, Baltimore, MD. April.

2013 “Mourning (the) Nation: Subverting Queer, Remembering Malcolm, and Performing X,” Association of Theatre in Higher Education, Orlando, FL. August. Respondent: Jennifer Devere Brody, PhD.

2012 “Documenting Her/Story: Edythe Scott Bagley, A Pioneer in African American Theatre, History, and Education,” Association for Theatre in Higher Education, Washington, DC. August.

2012 “Whose Play is it Anyway? White Directors, Black Playwrights, and Role Reversal on the Stage and in the Academy,” Black Theatre Network, Atlanta, GA. June. *Chair and Participant

2012 “Writing Race: Beyond Skin Color in Dael Orlandersmith’s Yellowman,” 36th Annual Comparative Drama Conference, Baltimore, MD. March.

2011 “Mourning, Orature, and Memory: Cultural Performativity in Pearl Cleage's A Song for Coretta,” Association for Theatre in Higher Education, Chicago, IL. August.

2011 “Glass Coffins and Gucci Suits: Postcolonial Jamaican Funerals as Performances of Identity,” 9th Annual Graduate Student and Adjunct Association Symposium (MEGAA), Miami University, Oxford, Oh, March. 

Directing

2016 Blood Memory by Leticia Ridley. The Cafritz Theatre, University of Maryland, College Park. November.

2016 Unlawful Assembly conceived by Meghan Abadoo and Khalid Long, The Cafritz Foundation Theatre, University of Maryland, College Park. April.

2016 Mr. Jose and the Rabbits by Mojalefa Samson Mlambo, University of Maryland & The Kennedy Center. April.

2014 for colored folks: Ntozake Shange’s for colored girls who considered suicide when the rainbow is enuf and Keith Antar Mason’s for black boys who considered homicide when the streets were too much. Dance Theatre: Second Season, University of Maryland, College Park. (February 2014)

2013 Chupucabra by Paloma Mohamed. Staged Reading. Ulrich Hall: University of Maryland, College Park. November. Invited by Merle Collins.

2012 Prayer Meeting: Or, The First Militant Preacher by Ben Caldwell. Aziz Theatre Ensemble, African American Museum of Philadelphia. July.

2012 Mad at Miles by Pearl Cleage. Aziz Theatre Ensemble, African American Museum of Philadelphia. July.

2012 Journeys: A Celebration of African American Theatre and Performance conceived by Khalid Long, Aziz Theatre Ensemble, African American Museum of Philadelphia. June.

2010 A Song for Coretta by Pearl Cleage. Studio 88 Theatre: Miami University of Ohio. October.

2009 An Evening of the Black Classics conceived by Jann Ellis-Scruggs & Khalid Long Assistant Director. Dudley Theatre, Cheyney University of PA. April.

2008 The Church Fight by Ruth Shelton Gaines. Lighthouse Performance Stage, Brookhaven, PA. July. 

Awards

2016 Ford Foundation Honorable Mention, Dissertation Fellowship

2014 College of Arts and Humanities Graduate Student Service Award, Award received from Dean of the College of Arts and Humanities, Bonnie Dill Thornton

2011 Graduate Student Achievement Award, Miami University, Award received from the Dean of the Graduate School as “intended to recognize significant achievement in research.”

2010 Uplifting Model Award, National Association for the Advancement of Colored People

2009 Mr. NAACP of Pennsylvania Award, Pennsylvania-State NAACP