BmoreArt

Founded by three visionary women and mothers—Mama Rashida Forman-Bey, Mama Kay Lawal-Muhammad, and Mama Nata’aska Hasan Hummingbird—WombWork seeks to shine a light on the stories of young people from some of the hardest possible circumstances. At the same time—through music, dance, storytelling, testimony, reflective thinking, and spiritual development—the production company offers alternatives to the dangerous elements that are as commonplace as they are detrimental to the communities many young people call home. 

WombWork was formed over 30 years ago as a means for the founders to address what they saw as a lack of focus and opportunity in the lives of young people, especially those living in Baltimore’s severely under-resourced communities.

Mama Rashida remembers, “Growing up in the 1960s, in Baltimore, I experienced firsthand the strong sense of community within our close-knit neighborhoods, where ethnic pride and collective care were central. However, I also witnessed the harsh realities of systemic racism and oppression that have left enduring scars on our city. Baltimore is a city of contrasts. On one side, there are communities with access to resources that support well-being, while on the other side, many struggle to be well and to meet basic needs due to inequities in housing, education, and healthcare. These disparities have only deepened over time.” 

Given the immense challenges faced by young people navigating these disparities, the founders wanted to show them that their voices mattered; to teach them the values needed to succeed through the performing arts; and to help them recognize and name the inherent virtues in their lives.

Mama Rashida entered this artistic space as a way of encouraging the connection between the spiritual and creative processes. Both she and Mama Kay ascribe to the philosophy of The Virtues Project, a collaboration between two learning institutions, WombWork and The Virtues Project,  that dovetail into teachings fostering a culture of character, with WombWork adding the element of performance to the education. 

“It is a way to relate to the beauty of seeing greatness in groups and individuals. When I went into recovery and attended NA meetings, I felt this universal love coming from inside of me and from my community,” says Mama Kay, who advocates that the virtues they teach are a way to reach anyone, regardless of religion, spirituality, or creed. “We all screw up in our lives, but we’ve got these virtues in there that provide a language to communicate our beliefs, guide ourselves, and get out of someone’s way in order for that person to find their own way. The virtues represent a vocabulary of communication that changes hearts; they are a spiritual richness reminding us that we are all great, maybe lost, but still great and filled with hope. It is a light that we all can share in the darkness.”

Their methodology also draws on traditional rites of passage models, supporting young people through that difficult transition from adolescence to adulthood as their programs focus on “developing artistic talents, leadership skills, and self-discipline; increasing awareness of social issues; increasing life skills… and providing tools for self-transformation.” An ambitious list of goals that WombWork not only accomplishes but excels at. 

Since its inception, WombWork has shepherded more than a thousand young people through the program. And now, as the years go on, the group is seeing second-generation participation—kids who started 20 or more years ago are bringing their children into the group, spreading the philosophy. Today, WombWork partners with high-level supporters like Johns Hopkins, Morgan State University, Baltimore City Public Schools, and various philanthropic foundations such as the France-Merrick Foundation, the Harry & Jeanette Weinberg Foundation, and the T. Rowe Price Foundation.

Besides their success in transforming the lives of the people who pass through (or stay with) the company, the performance element of the programs they produce on stage is outstanding. WombWork tackles the most pressing and prevalent social issues to raise consciousness beyond simply entertaining. Topics like sexual assault, gang violence, substance abuse, teen suicides, murders of family members, and witnessing the deaths of schoolmates are all presented in their repertoire. With an alchemy of clever staging, lean but effective choreography, vignette or monologue format, spoken word, rap, African drumming, and most importantly, pure, raw emotion as performers tell their own stories—these experiences evoke a visceral response in their audiences. 

“I believe that the arts are a powerful tool to challenge policies and practices while fostering a sense of justice and healing,” Mama Rashida says. “My commitment to Baltimore is driven by a deep love for the people and the arts and a belief that despite Baltimore’s challenges, we can and must, in unity, stand up for meaningful change.”

Baltimore is known for many things: our crabs, our sports teams, events like Artscape, the Inner Harbor. But we’re also too well-known for the seamier elements perpetuated by TV programs like The Wire and Homicide: Life On The Streets. It’s true, ours is a city that has suffered from disparity and inequality, poverty and disinvestment, but there is also radical goodness here—people and programs committed to elevating our communities and culture which, in turn, elevates us all. Nowhere is that more evident than in the company of WombWork, its leadership by Mama Kay and Mama Rashida and the influence they have on the lives of some of our most at-risk youth.

Shine on, ladies. Baltimore is better because of you and your efforts.