UNC-G Kappa Alpha Psi Alums Jumpstart DATI Kukatonon Peace Project Fundraiser to Establish DATI Youth Study Center in Liberia!
Two illustrious alumni of The University of North Carolina at Greensboro (UNC-G) and members of the Kappa Alpha Psi Fraternity, Inc. made a generous donation to the Dehkontee Artists Theatre Kukatonon Peace Project in Liberia to jumpstart the Dekontee Artists Theatre fundraiser for the establishment of a youth study center in Liberia. William “Spoonie” G. Wilson and Kevin Graves (2nd and third from right in the photo) responded to the request Dr. Joe Gbaba in October this year to assist genocide surviving Liberian youths improve their education performance and experience in that war-torn West African nation. Joe is also a 1983 alumnus of the prestigious UNC-G Graduate School of Theatre and Executive Director and Founder of Dehkontee Artists Theatre, Inc. (DATI). In this article Dr. Gbaba narrates the humanitarian deeds the Kappa Alph Psi Fraternity performed for him when he was a student at UNC-G down South in the early 1980s.
"Affectionately called “Spoonie G”, William Wilson, Lenny Curington, Scott Carter and members of the Kappa Fraternity and I go a very long way, thirty-nine years ago when I pursued graduate study in Theatre (specializing in Directing and Acting) at that Southern American University. All these guys were younger than I was. They were all undergrads while I was in grad school. Back then, the Black student population was about 5% of the entire student body of roughly ten thousand. So, we were drown in an ocean of predominantly white culture and race. But today, the general student population is about twenty thousand, with about 7.9 percent Black Student enrollment and 7.5 percent Hispanic. Most of the Black students during our days at UNC-G were African Americans. A few were from the Caribbean Islands and a handful from the continent of Africa. We were two Liberians at UNC-G those days, Comfort Ellis and I. In fact, to the best of my knowledge, I was the first African to graduate from UNC-G School of Theatre graduate program with an MFA degree in Drama.
The Raymond Taylor Theatre Building on the UNC-G campus where Gbaba took most of his theatre courses.
I experienced a cultural shock at UNC-G like I never did before in my entire life! For an example, I hardly ate in the mess hall because I did not know what to order. I did not know the names of the various food offerings on the daily menu. Consequently, it made me to lose appetite. However, my first real American meal I regularly ate before I started liking other American foods was pizza. I ate it in the morning, in the afternoon and in the evening. One time I saw “soup” on the menu, thinking it was our usual “Liberian Pepper Soup”! Man, didn’t I get the shock of my life!
Bang! Cultural difference sank in! You should have seen the face I made when I sipped the first spoon of the 'soup'! One of my friends said, "Why the look on your face? You said you wanted soup and that is what we call soup in the U.S."
"The taste of your soup is far different from the taste of the Liberian Pepper Soup. Ours is spicy and not just plain tasteless water as yours..." Later, I developed liking for American soup.
Rabbi Prince Joseph Tomoonh-Garlodeyh Gbaba
As an African from a royal background I brought with me some of my royal regalia that I proudly wore on campus. Hence, my African fashion designs distinguished me from the rest of the students. Also, many Americans down South had never seen a Black man dressed in colorful gowns, with a head gear and footwear that were quite different from the usual American jeans, sneakers, and T-shirts that most of the students wore. Further, many of the students and faculty members never heard the word “Liberia” before, and most times when someone asked me which country I was from, I would say, “Liberia”, and then they would ask, “Did you mean Libya?”
For the hundredth time I would slowly reply, “No", and spell out the word "L-i-be-ria!” Then I would tell them how once upon a time free Blacks from the United States migrated to Africa and established the first independent African democratic republic on the continent of Africa. Suddenly, a more relaxed facial expression would surface on their faces when I made that historical connection. So, you can imagine what it was like to live in a community where you were a minute minority among the minority of the student population in a predominantly white Southern university.
As for the pronunciation of my surname “Gbaba”, just forget it. There are a zillion ways Americans pronounce “Gbaba”: “G-baba”, “Geh-baba”, etc. They never did pronounce it correctly thirty-nine years ago, and they won’t now these Trumpish days! Initially, when someone asked what my name was, I would slowly say: “Gba-ba”. Then the next thing was and still is, “So, the “G” is silent?”
“No, the “G” is not silent” I would say; but after almost a million Americans kept or keep repeating “So the “G” is silent?” I gave up out of frustration. So nowadays I say “Yes” to cut a long matter short!
What I noticed though is that due to the monolithic Eurocentric curriculum that drives academic instruction in the United States, Americans experience an anomaly when they come across a foreign name or word that does not fit into their phonemic and phonological context. Rather, they are used to words being spelled with one consonant followed by a vowel. Thus, what automatically freaks them out is, my surname begins with two consonants (Gb) followed by a vowel (a). So, phonetically, that throws them off balance! But in Africa the (Gba) sound is very unique and can be easily pronounced by Africans, unlike Caucasians most of whom are unable to produce the unique "Gba" sound. So, it frustrates them when you tell them they are not pronouncing "Gbaba" correctly.
But strange enough, most Americans never have difficulty pronouncing a Caucasian word like “Czechoslovakia” that has the same double consonants followed by a vowel like “Gbaba”. Against this backdrop, I learned to keep my mouth shut and not say a word about whether they were pronouncing my name or not. That is, if I wanted our introductory conversation to continue. But if I persisted, our conversation usually did not go any further.
Overall, the students were very curious to know who I was. Some easily made friends with me while others saw me as somebody from a different race and culture, and that attitude came across from both aisles (black and white). Did I pay those that displayed their ignorance or racist behavior any mind? No, I did not. My African self-pride would not allow me to. That was below my league and caliber as an African royalty and humanitarian and rights advocate who knew my roots. I would not sucuumb to such demeaning behavior. Also, as someone who came from and was born in an African nation that was never colonized by white people unlike the rest of Africa, I would not condone racial superiority or inferiority, for I believe all men are born equal and have the right to the pursuit of happiness and I wasn't going to permit anyone to ruin by happiness!
Fortunately, I didn’t go through the torture of being isolated too long on UNC-G campus because I made many friends across the aisles (both Black and White). However, in a very racially sensitive environment as UNC-G you were branded an "Uncle Tom" if the Black students saw you spending more time with white students. Fortunately, there were some Black students on and off campus who understood I was from a different cultural background. They soon realized as well that I was and am a people-person who cared less about racial discrimination. So, they knew I enjoyed interacting with all races and irrespective of differences of opinion.
Len Curington (first from left) was very supportive of my work. He was a Mass Communication major at UNC-G.
“Spoonie”, Lenny, Scott, and other African American students (Andre Minkins, Keith Hill, Sherrie Jamaison, T.K. Powell, David Miller, Eric Riggins, Randall Leathers, Orlando Johnson, Monte Hamer, Harmon Crutchfield, Raymond Smith, Emily Bailey, Maurice Donnell, Franklin Brathwaite, George Dower, etc., warmly embraced me as their Brother from the continent of Africa. They tactfully and tactically taught me how to cope with the American way of life. They made it possible for me to emerge victorious as a foreign and minority student in a predominantly white Southern University.
The Positive Effects of Black American Fraternities and Sororities
Back in the day, everyone loved to watch the Kappas put up their step show! College students came from different campuses to watch them perform. They were the bump back in the day!
Some postitive effects of Black American fraternities and sororities include conscientizing their members to be aware of their Black heritage. Most Black frats and sorrors tend to be more open to accepting their African brothers and sisters from the continent and Caribbean than ordinary Black folks who lack the educational exposure and experience Black sorrors and frats have. So, my Afrocentric values attracted me to the Kappas and members of other Black fraternities on UNC-G campus and in the greater Greensboro community.
As the only African in the graduate theatre program consisting of three Blacks (two males: Avery Verdell and I and one female, Emily Bailey), I encountered difficulty recruiting Caucasian undergraduate and graduate students to participate in my class projects. Every semester I was required to either direct a play or act in one. Most of the students preferred to participate in plays they were already familiar with and some of the younger inexperienced white Southern kids who never interacted with Blacks, let alone a Black male with a foreign accent, let you know from the door you were not welcome or they had things to do and did not have the time to be directed by a Black student.
In addition, I wanted to introduce my genre of African theatre to the UNC-G and Greensboro community. Hence, I needed an African American or Black support base to cast and direct my African plays if I were to successfully complete the course requirements for the MFA degree. This was where the Kappas and members of another Black fraternity called the “The Brotherhood” and some members of the "Neo Black Society", an organization of Black students on campus, played a significant role in the success of my education at The University of North Carolina at Greensboro. "Spoonie", Len, Scottie encouraged me day and night not to give up when the going was tough! They gave me to overcome the hurdles that came my way.
An article written about Dehkontee Artists Theatre in 1982 in the Greensboro Daily News. In the photo are Scott Carter, Andre Minkins, T.K. Powell, Keith Hill, Sherry Jamaison, Walter Aikens, Sheba Wilson, Franklin Brathwaite, Maurice Donnell, and many others whose names I cannot remember.
Scott G. Carter was one of the founding members of Dehkontee Artists Theatre at UNC-G. He acted as Sithole in Gbaba's "Chains of Apartheid" and rocked the UNC-G Aycock Auditorium in 1982.
Scott Girard Carter (affectionately called "Scottie"), a Kappa Brother, led the campaign to help me recruit talented Black students at UNC-G. He, Andre Minkins and Keith Hill (all UNC-G undergrads) and some grad students such as Harmon E. Crutchfield who was a member of the Alpha Fraternity and Wayne P. Smith of the Omega Fraternity and my roomate Gregory Roberts who was also an Alpha Brother helped out tremendously. I also connected with students from North Carolina Agriculture & Technical State University (A& T State), Maurice Donnell and Franklin Brathwaite, and artists from the greater Greensboro community in the persons of ShebaWilson and Psyche Wazanda and soon I was able to establish a Dehkontee Artists Theatre branch at UNC-G.
Andre Minkins one of the founding members of Dehkontee Artists Theatre at UNC-G. He was a Music major that landed his first major acting role as Vukani in Gbaba's "Chains of Apartheid" at the Aycock Auditorium. He later pursued his MFA in Theatre (Directing and Acting) and is now Associate Professor of Theatre and Communications at NC Winston-Salem University. Andre still performs for Dehkontee Artists Theatre.
We performed a mainstage production of my groundbreaking play “Chains of Apartheid” at the Aycock Auditorium as my Master Directing Thesis production. It received a raving review in the Greensboro Daily News and Dehkontee Artists Theatre also participated in the Annual Greensboro City Stage Events in the “African Marketplace”. Thereafter, I successfully met the requirements for the MFA degree because I had the full backing of the Kappa fraternity as well as the African American community on and off campus.
Keith Hill was one of the founders of Dehkontee Artists Theatre at UNC-G. He majored in Music and is still affiliated with Dehkontee Artists Theatre.
The Good Side of America, the Greatest Nation on Earth
From this narrative you can tell America may have its ups and downs but overall, the people are very kind, loving and generous. At least this is the America I know: the America that is a world leader and the America that lends a helping hand to those in need to make the world a better place to live. I was blessed to find that brotherly love and support through the Kappa Alpha Psi Fraternity, Inc. and many other well-meaning Blacks who felt connected to their heritage through my inspiring artistic and educational work. Today, that relationship we established nearly forty years ago still lasts up to today's date and is now being extended to the people of Liberia, in particular, war ravished Liberian children who are deprived quality education. Hopefully when our fundraising goal is met, post-genocide Liberian children will benefit from the kindness of a fraternal organization whose members live what they preach.
Recently, when I told William and Lenny about the Dehkontee Artists Theatre Kukatonon Peace Project in Liberia and how there is a need to establish a youth study center, both were very receptive because they already knew my Liberian story. They immediately empathized with the plight of Liberian children and warmly embraced the idea of establishing a youth study center to provide thousands of Liberian youths who survived the Liberian genocide and are still affected by its aftermaths, an opportunity to have access to quality education. Through William’s efforts, Kevin Graves stepped up to donate to the project as well.
It is my ardent prayer many other Kappas, Omegas, Alphas, Malik Brothers, AKA sorrors who read this communication will realize the impact their outreach will have in the lives of thousands of Liberian youths who are neglected and are desperately in need of education to liberate themselves from mental slavery. Below is what the Youth Study Center is all about and the reason why you should support the Youth Study Center project financially, logistically, and morally.
Donate Generously to the DATI Youth Study Center Project in Liberia
Liberian warlords gave Liberian children guns to fight, the youth study center will reverse that to provide children the opportunity to learn how to read and write and become productive citizens in the future. Your support for this project is very crucial to saving the lives of millions of Liberian children from the depths of ignorance.
Liberia has been in a state of political, economic, and socio-cultural turmoil for more than thirty-one years. During this time frame many Liberian children were forcibly conscripted as child soldiers and combatants. Hundreds of thousands of Liberian youths lost their lives and those who survived the atrocities were denied access to equality of educational opportunities. As a result, over 90% of the post-genocide Liberian population are illiterate. Added to that, most Liberian youths cannot afford the tuition to acquire efficient and quality education and so their academic performance is very poor. Thus, there is a dire need for a youth study center to provide remedial education, tutorials and after school educational and extracurricular activities, as well as courses in peace education and conflict resolution, literacy, traditional Liberian dance, music, culinary arts and home economics to train and provide opportunities for post-war Liberian girls and youths to develop and harness their innate talents to the fullest extent possible.
The estimated total cost for the acquisition and lease of the property as well as furnishing it is Twenty Thousand Dollars ($20,000). And, we will name the youth study center in honor of the donor who donates the highest amount of money to the project. Thanks to William Wilson and Kevin Graves for jumpstarting our fundraiser for the establishment of the DATI Youth Study Center in Liberia. May the Lord add more to their barns and encourage others to emulate their loving and kind example.
How to Donate to the DATI Youth Study Center Project
1. Donate by logging to: https://www.dehkonteeartiststheatreinc.com and click on the “Donate” button;
2. Write a money order or check to:
Dehkontee Artists Theatre, Inc.
P. O. Box 143
Clifton Heights, PA 19018
3. Cashapp: $Joseph Gbaba
Published by DATI Public Relations Section of Dehkontee Artists Theatre, Inc.
December 2, 2020