A play of movement. A play of possibility. A play of accusations and attack. A play that forces change. A play that exposes the underbelly of racism and prejudice and the danger of role-playing. Yes, Baraka takes the title from both the famous ghost ship, the Flying Dutchman, as well as the slave ship of the East India Company to indict racist white culture. And the subway setting creates an eerie, seething world in the entrails of the city. But the term dutchman also refers to the simple, theatrical muslin gauze that connects two stage flats and gives the appearance of a seamless wall. These walls, therefore, are easily ripped apart. As easily as Baraka rips apart the identities of Clay and Lula who treat each other as objects, things, others. They project their images onto each other, but as things, not real people. And it reminds us, as Baraka says, “The imagination is the projection of ourselves past our sense of ourselves as ‘things.’ Imagination (Image) is all possibility, because from the image, the initial circumscribed energy, any use (idea) is possible. And so begins that image’s use in the world. Possibility is what moves us.”