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Pomo Afro Homos
Pomo Afro Homos (1990–1995), short for postmodern African American homosexuals, was an African-American gay theater troupe founded in San Francisco by choreographer-dancer Djola Bernard Branner, actor Brian Freeman, and singer, dancer, and actor Eric Gupton. Later, Marvin K. White joined the group. They presented the black gay male experience. Their pieces include: ''Fierce Love: Stories From Black Gay Life'' and ''Dark Fruit''. They got their start through exposure via National Performance Network festivals.〔(“Pomo Afro Homos / National Performance Network.” ) Accessed January 28, 2013.〕〔( Pomo Afro Homos in Anchorage ), retrieved 2007-08-09〕〔(Pomo Afro Homos co-founder dies at 43 ) retrieved 2007-08-09 〕
==Behind the scenes==
The original concept of the group was to show the issues behind each black gay, from family issues and AIDS to acceptance within the community and racism. These issues were controversial during this era because in the 90’s, famous athlete Magic Johnson had admitted to acquiring HIV from having multiple sex partners. David Roman had referenced these issues including the play Six Degrees of Separation, comparing them to one another because of their influence on the same subjects. Roman complemented the Pomo’s on their bravery to show these subjects instead of backing down from the rejection they received in certain places.〔Román, David. ''Acts of Intervention: Performance, Gay Culture, And AIDS''. Indiana University Press, 1998.〕
The Pomo’s shows had started with a low budget, so they had less props and the focus was on the actors. Many of the skits were based on Freeman’s, Gupton’s, and Branner’s experience with their homosexuality and the society around them. The skits were portrayed by parodying, over acting, and truly speaking out the problems they were faced with. In an Article by Stephen Holden critiquing the Pomo’s show, Dark Fruit (one of the Pomo’s later pieces) is more comedic than Fierce Love. Holden Praises Freeman for his acting and being able to expose himself on stage. He critiques Branner for his lack of charisma, but still complements him for being soft and moving.〔("Review/Performance Art; Gentle Souls of Gay, Black Defiance" ). ''The New York Times'', July 27, 1993.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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