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We're makin' it to Buffalo, man. You hip to Buffalo? CURT IN ED BULLINS'S Goin' a Buffalo Identity: one's history, one's memories, one's sense of self in relation to others. The subtitle of Anna Deveare Smith's Fires in the Mirror—Crown Heights, Brooklyn and Other Identities— suggests that geographical location may function as a carrier of each of these personal elements. 1 Buffalo, New York, a city with a reputation for failed dreams, 2 bears a cultural heritage that has shaped the thinking and representations of generations of African Americans. Four moments in the city's history demonstrate how the portrayals of and performances by African Americans in and around the city reflected changes in both local society and national ideological trends. First, in 1842 the city served as a springboard for the international success of Christy's Minstrels, one of the first "make-believe negro bands of singers and musicians." 3 The second instance is that of the Buffalo Historical Marionettes, formed in 1932. Despite their important contribution to the Federal Theatre, the troupe's eight African American performers have received little scholarly attention. The third area of focus involves a dramaturgical analysis of Ed Bullins's Goin' a Buffalo. The play was written in 1966 within the context of Buffalo's Second Great Migration, a movement that gives richer meaning to the characters' struggles. Finally, the 1978 formation of Buffalo's still-thriving Ujima Company provided the city with African American theatre that demanded recognition for its predominantly black artists and black themes. Analysis of the social, economic, and political context in which each of these theatrical events originated engenders a nuanced understanding of not only the events themselves but how the history of

"You Hip to Buffalo?": The Hidden Heritage of Black Theatre in Western New York