Judith Jamison Quotes

I think I've been writing black poems all along, wearing my white mask. I'm always the victim ... but no longer!

The beauty of being black in American society is that black has always been an inclusive definition. White has always been an exclusive definition. I think one of the challenges for white people is to figure out how to have a more inclusive picture of who their families are, of who they are.

I think that [Eddie Murphy's famous "White Like Me"] is probably the first time I thought, "Oh. Being black is different. That is a totally different experience."

Just giving the people a great show, leaving it all on the stage. Like when I'm finished I don't want to go home with nothing, I want to leave it all there on the stage, that's what I'm thinking about before I hit the stage.

I think it's extremely important to challenge white brothers and sisters and think more systematically and strategically about the whiteness that they possess.

And as a young black man, a lot of my professors would really think that it was useful to see the work of politically oriented, positivistic, leftist creative works. And I found it incredibly useful. And I found it something that I've learned from and gained from.

I think that we've got to come to see this. The Negro is an American.

Not only was I not white, to many people I wasn’t Asian either

We have to undo the millions of little white lies that America told itself and the world about the American Black man.

What we're doing now, is to try to eradicate the limited notion of how people are interacting with each other through hyper-racialized ideas. A lot of it deal with, as an example, genre. If I ask you to visualize a trap musician or a hip-hop musician, you'll see one thing. If I say visualize a western classical musician, you'll see a very different thing. A lot of how music is disseminated to us is hyper-racialized. It's not something that we think about all the time, but if you take a minute to look back, it's why you get this argument when there's a white rapper.

When I perform, I don’t think about the haters, the Internet trolls, or anyone else. I care about giving the person in front of me something they won’t forget. And that’s why I bring the cake and raft out.

I just know that when I go onstage, I give everything I have, not only my feet, not only my legs, not only my body. I try to tell a story. Sometimes I am able to cry because I feel like it. Sometimes I am able to love because I feel like it.

I'm proud to be white. I don't have anything against my color. But I don't think color matters, either. Just like I feel it doesn't matter that I'm a white dude doin' black music.

The music's rehearsed a lot. All people think about is, they think, in rock 'n' roll, they get the music off right and they think it's okay standing, looking macho. Well, it's not. That's boring. If you want to be a performer you've got to do a lot more work than that.

I'm interested in the moments where the audience is restless. I'm interested in the moments where they lean in and become incredibly engaged: the laughter, the silence. All of that is part of how I think about shaping and rewriting the play.

I wouldn't say Donald Trump is a champion for white America, I think he shares a lot of the issues and values of white America.

I think when black performers performed in blackface, they were kind of taking back slave songs, but it was still a little bit iffy because they were performing, a lot of times, for white audiences who found it hilarious.

Teaching Black Studies, I find that students are quick to label a black person who has grown up in a predominantly white setting and attended similar schools as "not black enough." ...Our concept of black experience has been too narrow and constricting.

Sometimes it seems as if I have spent the first half of my life refusing to let white people define me and the second half refusing to let black people define me.

I don't know how to write without thinking what people would want. You don't know whether they want you to be black or white, so you kind of get a gray, something in the middle.

If I didn't get joy from acting, I wouldn't do it. My passion for acting is growing and I love telling good stories and inspiring stories and helping to give a little happiness to the world and perhaps get the audience to think about different issues.

I always think that the difference between film and theater is like the difference between masturbation and making love. Because, in film, you just have to get one moment right; you're practically by yourself. And in theater, you actually have to have a relationship with the audience.

There is a problem in America. An Irish or Polish American can write a story and it's an American story. When a Black American writes a story, it's called a Black story. I take exception to that. Every artist has articulated to his own experience. The problem is that some people do not see Blacks as Americans.

I am Charles Mingus, half black man, not even white enough to pass for nothing but black. I am Charles Mingus, a famed jazzman, but not famed enough to make a living in this society.

I remember the first thing I did when I found out I was illegal was to get rid of my thick Filipino accent. I figured that I had to talk white and talk black at the same time, like Charlie Rose and Dr. Dre. If I can talk white and black then no one is ever going to think that I'm "illegal."