Robert Price, a prolific artist whose work traversed continents, mediums, and generations, became a beacon for those who believe in the transformative power of art.
His journey began in Atlanta, where he was raised across the street from a public library that deeply influenced his voice and vision.
Fostering a love for adventure tales and biographies, the library served as the fertile ground for Price’s early fascination with language, laying the foundation for his future as a writer.
After attending Our Lady of Lourdes Catholic School and graduating from Booker T. Washington High School in 1960, Price further pursued his dream at Clark College (now Clark Atlanta University).
Initially aspiring to craft the great American novel, he experienced a paradigm shift following a rejection letter from the literary icon Toni Morrison, who remarked, “You occasionally write a little too gorgeously.”
This pivotal moment led Price to embrace poetry as his primary medium, stating, “Upon digesting that thought, Erato (the muse of poetry) swooped in and captured my heart, my imagination and my future.”
The 1960s marked another significant chapter in his life as he found his artistic voice amidst the Black Arts Movement, which celebrated radical individualism and cultural pride.
Price engaged deeply with the movement, nurturing a fierce love for Black culture and a commitment to innovation in artistic expression.
His tenure as playwright in residence at 7 Stages Theatre in Atlanta from 1985 to 2007 solidified his extraordinary contribution to American theater.
Teaming up with director Del Hamilton, he used innovative techniques to merge poetry, improvisation, and historical narratives, breaking traditional storytelling molds.
Among his noteworthy plays are “Black Cat Bones for Seven Sons” (1988), “Yardbird’s Vamp” (1990), “Blue Monk” (1996), “HUSH: Composing Blind Tom Wiggins” (2002), “Come on in My Kitchen” (2006), and “All Blues” (2011).
His final theatrical work for 7 Stages, “Blood Flow” (2020), was a filmed poetic meditation born out of the pandemic.
Each of Price’s plays challenged the audience’s perceptions and expectations.
For instance, in “Blue Monk,” actors embodied members of Thelonious Monk’s band, driving home Price’s poetic insights about music in a deeply immersive experience.
Similarly, “HUSH” reimagined the life of enslaved piano prodigy Tom Wiggins, weaving contemporary and historical artistry into a compelling narrative.
In “All Blues,” Price explored identity through the lens of journalist Ray Sprigle’s experiences as he navigated Jim Crow America.
Hamilton recalled, “He created ceremony,” emphasizing the spiritual and cleansing aspects of Price’s creative work.
During rehearsals, Price was noted for being both present and pragmatic, pouring generosity into his collaborations while safeguarding the deeper magic of his storytelling.
His plays, like his poetry, reminded audiences that history is an intrinsic part of the present; it is not merely observed but actively carried within.
Alongside his theatrical pursuits, Price published several poetry collections, including “Blood Flow” and “Wise Blood,” earning national accolades such as the William Meredith Award and a National Endowment for the Arts fellowship.
He characterized his poetic style as “free verse with the prosody of a jazz trio,” insisting on the significance of every line to maintain a balance of meaning, imagery, and rhythm.
“My style showers the listener with sheets of sound,” he expressed, emphasizing that significant poetry draws the reader’s attention to the unique facets of existence.
Music was not merely an influence on Price’s work but a foundational element, with blues, bop, and call-and-response traditions informing his poetic rhythm.
His poetry not only invited contemplative reflection but also sought to offer healing and elicit joy, challenging readers to feel rather than simply understand his work.
Price asserted, “I see poetry as an act of resistance to the stale and static status quo,” viewing the act of writing as a means to redefine the world.
His collaborator Alice Lovelace highlighted Price’s remarkable ability to encapsulate complexity within his poetry, stating, “Robert knew how to let anger and joy live side by side.”
In Atlanta, he expanded his outreach by working with the Writing Resource Center and actively participating in community events, creating a legacy of mentorship for younger poets who revered him.
In the 2000s, Price settled in Chestertown, Maryland, where he maintained his commitment to writing, teaching, and community engagement with unwavering passion.
As artist in residence at Washington College, he taught playwriting and developed new works that delved into themes surrounding slavery and American identity.
Collaborating with singer-songwriter Pam Ortiz, he co-wrote “Red Devil Moon” based on Jean Toomer’s “Cane,” which was showcased at the New York City Fringe Festival.
His theatrical exploration, “The Unlading,” addressed Black history during the Revolutionary War and became a component of Chestertown’s annual Tea Party Festival.
In addition to his artistic contributions, Price actively upheld Black heritage in his region, restoring the historic Charles Sumner Grand Army of the Republic Post No. 25 and co-founding the Kent County Poetry Festival, which celebrates its 16th anniversary.
He also collaborated with the Kent Cultural Alliance to ensure that historical voices remained vibrant and present.
In Chestertown, much like in Atlanta, Price transformed poetry readings into communal rituals, fostering connections and encouraging active listening among participants.
Matthew Terrell serves as an assistant professor of media and entertainment in Kennesaw State University’s School of Communications.
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