Lisa Langford's How Blood Go for Congo Square reflects on the persistent and pernicious ways medical racism affects Black people's lives.
Now, don’t get me wrong, it’s not a bad play. As a matter of fact, it’s a very good play. It’s clever, well-written, timely, and it makes good use of unusual devices. The quality of the play is not the problem.is a play about medical racism, its past, and its continued effects on African Americans, which echoes the expansivein content but not tone.
It isn’t long before we discover that Kennedy’s character isn’t white but is actually a Black woman wearing a medical device that makes her appear white to medical professionals. We are then left to reckon with how plausible some of those previously shocking statements would sound coming out of the mouth of Black people or from medical professionals.
The purpose of the medical device is to make Black patients appear white in order to ensure that white medical professionals automatically treat them with respect, guaranteeing positive health outcomes. The painful irony is that this so-called “breakthrough” is achieved not through solving racism in white people but by placing an additional burden on the oppressed.
I and nearly every other Black person have countless stories of having our pain dismissed, stories of family and friends who have died too young simply because a doctor wouldn’tus. As I sat in the audience surrounded by other Black critics and a majority Black audience in the eternal feedback loop of once again dissecting and digesting our own pain, this play hurt quite a bit.
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