DILLON HEYCK is a writer interested in performance, pop culture, and activism. His work has appeared on In Media Res, Hyperallergic, and other publications.
In the opening of Oba Qween Baba King Baba, Ni’Ja Whitson stands firm and grounded in front of their audience.
When Jonathan González first emerges from the stage curtains, dragging an ominous, glowing spotlight, only his boots are illuminated. We do not immediately see Gonzálezs body, beyond his feet, but we can make out his figure periodically reaching into the light, expanding his stance, and genuflecting towards the spotlight in what looks like prayer.