The success of this initial project launched a decade of artistic and cultural exchange that resulted in the co-creation of a play, Junebug/Jack, and the founding of the American Festival Project, which conducts multi-racial exchanges and collaborations around the United States. Now Junebug/Jack tours extensively throughout the United States, and the companies often conduct in-depth community residencies addressing issues of race and class. The success of Junebug/Jack led to the co-creation of RoadBug, a play made especially for younger audiences that introduces issues of race and class into classroom discussions.
In 1994 Roadside journeyed to New York to perform Mountain Tales for Teatro Pregones' audience in the South Bronx, and to share stories and music with this theater company that makes its work from its Puerto Rican history and culture.
Based on the enthusiastic audience response and the warm working relationship shared by Pregones and Roadside, the two companies decided to continue the exchange in Roadside's hometown and invited Junebug to join them.
When Pregones arrived in Whitesburg, the rural isolation seemed disconcerting at first. But company members soon saw similarities between the Central Appalachian Mountains and the mountains of Puerto Rico.
The work began immediately. Pregones performed its original play, The Wedding March, an aesthetically striking piece performed in both Spanish and English. Shadows and light, music and movement dramatized stories of a woman left at the altar on her wedding day, a child-eating ogre, and a village filled with mysteries and superstitions. One enthusiastic audience member, speaking after the show with Pregones performer Judith Rivera, said, "I didn't always understand what you were saying, but I knew what you were talking about!"
Junebug member Adella Gautier performed an excerpt of her original play, "Five Dollars a Day and Car Fare." Based on the lives of the performer and her mother, the play captures the frustration and the dreams of two women who are not afraid of hard work but want more out of life. The performance was well received and many audience members commented afterward that they saw much of their own mothers' perseverance portrayed on the stage.
The week of work culminated in an exciting dance party for which Pregones brought in members of Los Pleneros de la 21, a New York-based band that plays traditional music from the highlands and coastal regions of Puerto Rico.
Pregones, Los Pleneros, Roadside, Junebug, and local musicians jammed on music from all three cultures. The Appalshop Gallery floor was cleared to make room for those who wanted to move to traditional Puerto Rican mountain dances as well as the Virginia reel, Appalachian flat footing, and square dances.
In March 1996, Roadside and Junebug visited with Pregones in the South Bronx. Junebug performed their newest original play How Come You So Stuck Up This Morning for community members and local school children.
Roadside, Junebug, Pregones, and community members once again came together in performance at The Point, a local community center. Audience members were entertained with traditional Appalachian music, Puerto Rican legends, southern African American games and songs, and contemporary poetry and performance pieces. The artists were excited about how well each portion of the evening was received and how well each piece complemented the others.
The Roadside, Pregones, and Junebug exchange is now a part of the American Festival Project. In November 1996, the exchange will continue in New Orleans with performances, workshops, and planning sessions. The theater companies and the American Festival Project are looking forward to more performances in each others' communities, creating new work together, and collaborating with new communities and presenters.
