Students, parents, and faculty alike scrambled to find a seat in the Vandy Cab Room on Friday night for the second edition of Living in Color. As people were content to stand or sit on the ground, it was evident that Angus Williams, MCAS ’25, known by the stage name CARAMEL, had once again put together a special event.
The evening consisted of a series of artistic performances celebrating Black culture and identity.
They were largely musical, with the diversity of genres indicative of the roots from which they emerged—the stage could be occupied by a full-fledged jazz band, a circle of Ewe drummers, or even a gospel choir at any given time. Guitarists, trumpeters, pianists, violinists, saxophonists, drummers, and singers all made appearances.
One of the opening performances was of “Strange Fruit,” a song loaded with symbolic lyrics and harsh imagery. Expressing the horror of Black lynchings in the early 20th century, the song is simultaneously making a statement and reflecting an abhorrent reality.
“Black bodies swinging in the Southern breeze / Strange fruit hanging from the poplar trees,” is the most explicit of the chilling lyrics.
This set the tone for the night, as the event continued to provoke reflection regarding the truths of Black America.
The music was broken up by interludes of spoken word, which covered various powerful topics such as the fears regarding one’s autonomy being taken away, worries about assimilation, the difficulties of finding purpose, and learning how to love yourself.
One poem described the importance of facing one’s own identity in the mirror and how “life means learning how to love who looks back.” These powerfully spoken words reiterated the importance of appreciating your race.
The environment was intimate, and the cadence of the speakers emphasized the impact of the words on the audience. Snaps, claps, and general auditory agreements were frequent, affirming the poems’ ideas.
A projected video provided the background for the night’s performances—the film was an artistic portrayal of the Black experience. Some moments were more routine, such as waking up or waiting for the bus, and other settings, such as the church, were indicative of more fervent sentiments.
Along with music and spoken-word poetry, performative dance was another highlight of the evening. Sexual Chocolate, BC’s only all-male step team, animated the audience with its intense stomping and clapping.
The night was a resounding success. The crowd was continually entertained and could expect something completely new every few minutes. The audience was not only absorbed by the songs, poems, and dances but also by the meaning behind each one.
The event revolved around a very simple but often avoided truth: We all live with a color. The night emphasized that race is not something to disregard—it inherently affects the lens through which we live. Living in Color prompted reflection from everyone in attendance as it worked to redefine the interpretation of day-to-day Black experiences.
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