Playwright

Flow' is loosely based on and inspired by the existential classic, 'Waiting for Godot' by Samuel Beckett in which two hapless characters, Vladmir and Estragon, wait for someone named 'Godot'. Those familiar with the work already know that such a piece can never be replicated or mimicked to the same effect that Beckett was able to achieve. However, in thinking about hip-hop, and more specifically rap as an art form, I began to consider the underlying philosophical assertions one has to acknowledge in order to thoroughly appreciate the medium.

 By borrowing the barren existential landscape from 'Godot' I was able to explore the circumstances under which MC's are driven to rhyme and the interdependencies that underlie a battle between two artists.
Rap is a natural stage in the evolution of African-American music and dance in which the idea of two artists dueling is a prevalent component of live performances. Whether the medium is dance, blues guitar, jazz trumpet or scatting, the expression of impulses provoked within a framework of rhythm is not only a vital part of African-American music but has enriched and informed the evolution of popular music in America for the past two centuries.

Rap is another phase in this evolution but what makes it unique is the fact that it is poetry. It is poetry that grew out of poverty and became increasingly more rebellious against a perceived oppressive power. While it did take on a variety of forms ranging from jovial songs of celebration to expressive songs of outrage, it was the first form of African-American music that simultaneously frightened and intrigued the rest of America on a massive scale.

This combination of socio-economic influences coupled with a rich tradition of black music, gave rise to a powerful and complex medium of expression. What happens when two MC's duel? What is a battle about? If one were to consider Ralph Ellison's novel, "Invisible Man", what might be the very first assertion that a young black male living in America would instinctually make?-'I exist.' When a whole race of people is disenfranchised, overlooked and pushed aside to the fringes of society but forced to reckon with the realities of being treated as less than human, suddenly existence becomes a tenuous concept. Hence, rap became an empowering art form that essentially enforced the assertion to young African-Americans that, "yes you are human, you do exist and you will be heard."

I wrote 'Flow' in hopes of expressing that critical assertion in an entertaining and thought provoking fashion. I also wrote 'Flow' to pose the question, "Now what?" There is no denying that rap is behind the wheel of hip-hop's sweeping influence on popular culture and to a certain extent political discourse. But now that voices are being heard how can this art form retain its transformative power and avoid becoming just another commodity that is packaged and shelved for popular consumption?

My hope is that 'Flow' not only poses the question but is part of the answer. Because of its simplicity in terms of size and set pieces and its inherent appeal to enthusiasts of both music and theater, my vision is to see this play performed in high-schools, colleges and theaters across the country, giving young musicians and actors alike a chance to nurture their talents while stimulating constructive dialogue within their immediate communities.

 -Kesav Wable