Despite his play’s bleak tone and outlook, de’Souza George never loses sight of the fact that the Amistad revolt tells the story of resistance to the seemingly overwhelming forces of exploitation in a globalized world. For as much as the Amistad rebels’ experience in his telling points to Sierra Leone’s amnesia about its exploited and self-exploitative past, the play asserts that freedom and dignity are worth fighting for and, indeed, must continuously be fought for. For all the differences that distinguish Amistad Kata-Kata, The Amistad Revolt, and The Broken Handcuff, they share this assertion. And they share the assertion that Sierra Leone, with all of its political and economic crises and with its dream of decolonization painfully deferred, is an idea absolutely worth defending. Their plays, too, serve as a reminder that Sierra Leone remained, and remains still, a work in progress, knee deep in the necessary labor of fashioning a past to define its present and energize its future. While stage drama has lost some of the dominance it enjoyed in the second half of the twentieth century, the Amistad plays’ distinct cultural labors continue to exert outsized influence over Sierra Leone’s literary production, especially in prose fiction, which has blossomed in the postwar first decades of the twenty-first century. In novels no less committed to opening up Sierra Leone’s future, Aminata Forna, Eustace Palmer, Onipede Hollist, and J. Sorie Conteh have taken up and extended the three playwrights’ attention to the country’s pasts for both the root causes of its current conflicts and the cultural, social, and historical resources required to achieve the nation’s promise. Sitting at the forefront of this literary zeitgeist, the three Amistad plays offer a powerful reminder about how literature remains a vital force in the ongoing struggle for independence and equality.
Notes on the Texts
Charlie Haffner and Raymond de’Souza George provided typescript copies of Amistad Kata-Kata and The Broken Handcuff and consulted closely for their publication in this volume. Yulisa Amadu Maddy passed away shortly before I began to assemble the plays. His personal records and manuscripts remain currently in significant disarray in Sierra Leone and England. For these reasons, the version of The Amistad Revolt that I have included here is based on a script provided by Ansa Akyea, the Ghanaian actor who played Sengbe Pieh in the University of Iowa performances in 1993. Akyea’s manuscript is extensively marked up, with passages of dialogue and song, some quite long, crossed out or added by hand. I worked with Akyea to produce a script that conforms as closely as his memory allows to the version of the play that Yulisa Amadu Maddy directed. Posthumous publication is always fraught, but I am confident that Maddy would have approved this text. I would like to note, however, that even the published script of Amistad Kata-Kata challenges accepted standards for what constitutes an authoritative text. During the height of Amistad Kata-Kata’s popularity, Haffner and his theater troupe, the Freetong Players, rarely treated the script as a fixed text. They routinely revised dialogue and adapted individual stage performances to take advantage of differential resources or to address different types of audiences. Amistad Kata-Kata was, and remains to them, a dynamic work in progress.
In my preparation of the plays for publication, I remained minimally interventionist in my editing. I corrected obvious typographical errors and made minor changes to formatting to ensure that the plays conform to general play publishing standards. Readers and actors should assume that all punctuation, language usage, and style, no matter how nonstandard, are intentional. Sierra Leonean English typically employs British spellings (e.g., honour, centre, etc.), as is reflected in Raymond de’Souza George’s script. Charlie Haffner’s play appears here with American spellings in conformity with the typescript he gave me. Maddy’s original manuscript mixed British and American spellings, with the same word occasionally spelled both ways and with no obvious organizing logic. Given that the majority of Maddy’s spellings were American and given that he wrote and only ever staged the play in the United States, his family and I chose to use American spellings throughout.
Readers of Maddy’s play should also note his differential capitalization of racial terms. In every instance, he decapitalizes the word “white” when referring to European Americans, and, with few exceptions, capitalizes “Black” and “Negro.” The differential capitalization would remain indistinguishable aurally, of course, but, visually, it ascribes with unusual force the humanity and dignity to people of African descent that the proper noun denotes and forces White readers to confront their own assumptions and privileges. Where the manuscript did not capitalize these terms, I considered the context and made a judgment about whether the decapitalization was intentional or a likely typographical error and revised accordingly. For instance, when Judge Judson spews his racist venom about race pride I chose to leave his use of the word “blacks” uncapitalized, as it appears in the manuscript, because it signifies Judson’s view of Africans and African Americans as unworthy of proper noun status. But Maddy also leaves “white” uncapitalized in the same lines of dialogue, which comes across visually as Maddy’s attempt to subvert the violence of Judson’s racist rhetoric, a rhetoric that certainly had not disappeared from American life by the 1990s.
Timeline
| 16th century | Transatlantic slave trade begins along the Upper Guinea Coast. |
| 1787 | “Province of Freedom,” near today’s Freetown, first settled by “Black Poor” liberated slaves living in England. |
| 1792 | Freetown established by second wave of liberated slaves from the Americas. |
| 1808 | Sierra Leone declared a British Crown Colony. |
| 1808–17 | Major Atlantic powers sign treaties to abolish transatlantic slave trade. |
| 1808–60 | British naval patrols enforcing treaties settle Africans liberated from illegal slaving vessels in Freetown regardless of their origin. |
| Apr. 1839 | Slave ship Teçora sets sail from Lomboko carrying Sengbe Pieh and other Amistad rebels to Cuba. Slave factories around Lomboko were sending about 2,000 Africans per year to the Americas at this time. |
| June 28, 1839 | Carrying Sengbe Pieh and other Amistad rebels, La Amistad departs Havana for Puerto Principe. |
| July 1, 1839 | Amistad rebellion, followed by two months at sea. |
| Aug. 26, 1839 | Lt. Gedney and crew of USS Washington take command of the Amistad. |
| Sept. 1839–Sept. 1849 | Amistad-focused District and Circuit Court trials. |
| Mar. 9, 1841 | Supreme Court rules in favor of the Amistad rebels. |
| Nov. 1841–Jan. 1842 | The Gentleman returns the surviving Amistads and members of the American Missionary Society to Sierra Leone. |
| 1898 | Bai Bureh leads war in opposition to British efforts to assert colonial control of areas outside Freetown. |
| 1920s–1950s | Period marked by increasing anticolonial nationalist demands for political independence. |
| Apr. 27, 1961 | Sierra Leone gains political independence from British colonial rule. Milton Margai named first prime minister. |
| 1978 | Siaka Stevens declares one-party rule. Period marked by global economic crises, political misrule, and increasing culture of corruption, which lead to a long period of economic decline. |
| 1985 | Stevens’s handpicked successor Joseph Saidu Momoh elected president; Momoh welcomes International Monetary Fund reforms; economy continues to erode. |
| 1988 | Charlie Haffner debuts Amistad Kata-Kata in Freetown at the British Council auditorium. |
| Mar. 23, 1991 | The Revolutionary United Front/Sierra Leone (RUF/SL) launches first armed attacks in southern Sierra Leone, initiating a decade-long war. |
| Apr. 29, 1992 | Military coup topples Momoh’s government; widespread optimism that military government will bring a quick end to the war. |
| 1993 | Grassroots art movement makes Amistad revolt leader Sengbe Pieh a central icon in public murals designed to foster national pride in opposition to RUF/SL. |
| 1993 | Yulisa Amadu Maddy debuts The Amistad Revolt at the University of Iowa. |
| 1994 | Raymond de’Souza George debuts
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