Thulani Davis is an American playwright, journalist, librettist, novelist, poet, and screenwriter. She is a graduate of Barnard College and attended graduate school at both the University of Pennsylvania and Columbia University. In 1992, Davis received a Grammy Award for her album notes on Aretha Franklin's Queen Of Soul – The Atlantic Recordings, becoming the first female recipient of this award. She has collaborated with her cousin, composer Anthony Davis, writing the librettos to two operas. Davis wrote for the Village Voice for more than a decade, including the obituary for fellow poet and Barnard alumna June Jordan. Thulani Davis is a contemporary of and collaborator with Ntozake Shange.
Biography
Thulani Davis was born to two African-American educators from Virginia, Willie Louise Davis and Collis Huntington Davis, Sr. The Davises are prominent in Virginia and the subject of her 2006 book, My Confederate Kinfolk. Davis graduated from the Putney School in 1966 and continued her education at Barnard College, from which she graduated in 1970. Davis also attended graduate school at the University of Pennsylvania and Columbia University. After graduating from Barnard, Davis moved to San Francisco, where she worked as a reporter for the San Francisco Sun-Reporter, reporting on news stories such as the Soledad Brothers trial and the Angela Davis case. Davis became a performing poet and worked with a number of musicians and poets in San Francisco. She also joined the Third World Artists Collective, collaborating with Ntozake Shange and others. Davis returned to New York City in the 1970s. There, she wrote for the Village Voice for 13 years, eventually working her way up to serve as Senior Editor. In the mid-1980s Davis collaborated with her cousin, composer Anthony Davis, on creating their first opera. She wrote the libretto to X, The Life and Times of Malcolm X. The two collaborated again in the 1990s when Davis wrote the libretto to Amistad, first produced by the Chicago Lyric Opera. Tim Page of The Washington Post thought the work had missed some chances. It was based on a case of an apparent slave mutiny on a Spanish ship, which reached the United States Supreme Court. Page wrote,
"the incident is a welcome historical example of the United States behaving with wisdom and compassion toward the helpless and downtrodden. This is grudgingly and elusively acknowledged in the opera, but nowhere near so forcefully stated as it should have been, particularly with all the distasteful examples of white racism that were paraded throughout the evening. To paraphrase Walt Whitman, the abolitionist movement had been simmering, simmering, simmering, until the Amistad Rebellion brought it to a boil."
Amistad received a major revision in libretto and music in 2008 for a new production at the Spoleto USA festival. Opera Today said that it was
"much leaner, more focused and dramatically far more effective than the original. And in so doing they
