Francis Annan Affotey was born and raised in Accra, Ghana. After graduating from Ghanatta College of Art and Design winning Best Student of Still Life, Best Imagination and Composition, and Best Abstract Drawing awards, Annan joined the Revolution Art Organization and displayed his work in several group and solo exhibitions in Accra. In 2013, Annan helped found the African Young Artist Organization (AYAO), an organization dedicated to supporting African youth in the arts through programs and exhibitions. Since coming to the United States, Annan has displayed his work around Wisconsin, New York, and Miami, was a Pfister Artist-in-Residence finalist, and has worked in Milwaukee Public Schools with Arts@Large.
As a child in Accra, “poses” were part of daily life. I was surrounded by women peeling oranges, carrying head pans, and braiding hair. Children played in the dirt, invented games, took care of siblings, and cooked with their mothers. I did not realize at the time how much these images or poses had a lasting impression in my mind; little did I know how important they were in revealing the “secret” joys of which millions of Africans are familiar yet to which much of the world remains blind.
I use poses to expose the paradox of everyday African life. By depicting a pose as semiabstract, my paintings highlight both the mundane and the joy in everyday African life. Images that seem pitiful or sad to the outside world have much deeper implications. A woman feeding her family suggests pride, not inferiority. A child playing in a slum suggests friendship and imagination, not hopelessness. My artwork is meant to challenge those who only see Africa through the lenses of conflict, poverty, and corruption.
Since coming to Milwaukee, my work has explored stories with more universal themes, as I connect my past with my present. Milwaukee introduced me to many new cultures with surprising differences and even more surprising similarities to those back home. The similarities and differences have led me to use new media, new techniques, and new concepts.
Francis Annan Affotey
125 E. Wells St #403
Milwaukee, WI 53202
Outside of contributing to the drama of this show as part of the Cathedral Choir, I work with homeless individuals and families to evaluate the cause of their homelessness in order to stabilize their situation. It’s funny that whenever I mention to people I work with the homeless, everyone starts to drown me out with their own supposed expert opinion of why people are really homeless based on a few people they have met and maybe talked to for ten minutes. The homeless are more often seen as a stain on the city, and blamed for their own condition, and kicked out of public places quite similar to the treatment of the people labeled gypsies in this show. Even for myself in my own work, when I think I have someone all figured out, the repulsive behavior of Claude Frollo is a good reminder of how often we make judgments and moral assumptions about someone whose life we barely know without allowing them to tell their own story. We can be much more like Frollo than we’d like to admit, perpetuating racism and poverty by being much quicker to condemn than to try understand or help.
How often are we really like Esmeralda, willing to risk the hostile stare and revile of others to show kindness to someone who is despised and outcast? Yet Esmeralda is demonized based on her cultural background, assumed lifestyle and moral character without out ever being allowed to speak for herself at all. She is even wrongfully accused of witchcraft.
And in regards to Quasimodo, he is just like the people that we today dehumanize and stigmatize and want to pretend are not a part of our society and want to keep hidden because seeing them disturbs us.
Why does it disturb us to see disfigured people? Or homeless people? Why is it so hard for us to let people from other cultures, creeds or lifestyles be? Is it because it makes us feel guilty? Because we need someone else to look down on as morally inferior? Or because it reminds of the fragility and vulnerability of the human condition that so scares us? Any of us are just a few paychecks away from being homeless, one accident away from being disfigured or disabled, one move away to a neighborhood or country where we are the minority and the stranger.
Despite all this, to quote Archdeacon Frollo, these are crimes for which the world shows little pity. Waukesha Civic Theater’s Hunchback of Notre Dame powerfully shows the cruelty of prejudice and hypocrisy in the name of moral authority and progress, backed by the easily influenced populace. Five hundred years later, the medieval attitudes of Frollo and the angry mob are terrifyingly familiar to how we as individuals and a society treat others today, more than they are on a commentary on a distant backwards past.
The cast and all involved in this production, beautifully illustrate the power and value of theater, through story and song to challenge us and to bring light to what dark part of us needs to be acknowledged and left as a part of history, if we really want that kinder, fairer, and wiser someday to come before the people who need our compassion and understanding the most, are gone.
Amy Teutenberg ~ Cathedral Choir
When the 2016/2017 Waukesha Civic Theatre season was announced and I saw that To Kill A Mockingbird was on the list, I knew that I would clamor and claw for the opportunity to direct this play. I have taught the novel to my freshman World Literature class, and year after year, it sparks a vibrant conversation of race, equality, poverty, violence, innocence, desperation, and hope. It is a story that speaks to my heart and screams to my conscience. I see myself in Scout – in her compulsion to stand up for what’s right, and to be the voice for those who are too scared or unable to speak up. I even named my daughter Harper in tribute to Ms. Lee. It is a dream of mine to direct the stage play of Mockingbird – to bring this conversation to life as only theatre can, and I am deeply humbled to be trusted to tell this story with an incredible team of actors and designers.
I am thrilled to see Harper Lee’s novel bringing our community and schools together, in partnership with the Waukesha Reads program. To Kill A Mockingbird is an intelligent and timely choice for Waukesha Civic Theatre at this point in history. With tensions high, the conversation of the racial divide in America is vital as ever. Voices are raised, fires are burning, and yet voices are going unheard. We need to hear one another and listen to the singing of the “mockingbirds,” so that we can find understanding. In this play, the echoes of slavery are heard in the deeply-rooted segregation of the South, just as the echoes of segregation are heard in towns across America today. Mockingbird not only serves as a reflection of the past, but it mirrors today’s world and provides a lens through which we can look into the future. While you can look for villains in this play, they are hard to pin down. Even the apparent villains are victims of circumstance, aren’t they? Ignorance, poverty, culture, and fear stand in the way of progress in Harper Lee’s 1934 Maycomb, Alabama as they continue to do today across America. If I had to guess, I would say that Harper Lee would never have imagined just how relevant her story would be in the year 2016, and I have to wonder if she would how discontented she would be. My fervent hope is that in my lifetime, this play will become antiquated; it will become a piece of history we will use to look back with gratitude on a time before things changed.
I hope that you find truth here today – that you find laughter, and that you find heartache; I most certainly have found all of these things in building this show with our team. I would like to thank John Cramer for giving me the opportunity to direct Mockingbird, my incredible cast for trusting me and one another, and bringing with them a goodness of heart that moves me, and my production team of artists and organizers who make this show possible. I am forever grateful to my supportive and loving family, Aaron (lighting/sound designer), Jaxon, and Harper. Please help us spread the word and fill this house each performance. We are so glad you are here.