Writer. Creator. Artist.
MY INTENTION as a playwright is for my work to be the kindling for a transformative, healing light that humanizes women of color.
James Baldwin wrote, "The precise role of the artist…is to illuminate that darkness…to make the world a more human dwelling place."
As a Black American woman, I have desperately sought a dwelling place within the theatre canon that included multi-faceted representations of me throughout my life.
AS AN ARTIST, IT IS MY CHARGE to carve out and demand lighted spaces where Black people throughout the diaspora will be counted without limitations.
I employ magical realism in my work to bend the prescribed ideas of what is possible, what one can be, and BOLDLY CREATE INFINITE POSSIBILITIES.
My plays are heightened character-driven thematic explorations of heritage, identity, self-love, faith, and the reverberations of the psychological scarring of descendants of Black American slaves.
Although my stories are told from my cultural perspective, they are FOR EVERYONE, FROM EVERYWHERE. I believe this is necessary to ensure theatre's future that reflects the diverse world in which we live.
IT IS IMPERATIVE FOR ME to be a part of shaping that future and encouraging the next generation of dramatists to do the same.
Aja Houston hails from Everywhere, USA. Raised as an only child, her imagination was her best friend. Aja began writing to create fantastical worlds full of dope characters to keep her company. Aja currently lives in Los Angeles where she received her MFA in Dramatic Writing from The University of Southern California's School of Dramatic Arts. Aja creates with passion, politics, and magic to build off-kilter, uncanny, whimsical worlds to tell stories that humanize the Black Diaspora.
Aja is a proud member of The Dramatists Guild, Antaeus Theatre Company's Playwrights Lab, Ammunition Theatre Company's Writers Lab and she is an alumnus of The Road Theatre's Under Construction Playwrights Group. Aja's notable work includes Journey to Alice, an Eugene O’Neill Theatre Conference 2019 Semi-Finalist, Floating on Credit, published in The Dionysian Literary Journal, Waiting (4,380,000 Hours and Counting) Inkwell Theater Max K. Lerner Fellowship 2020 recipient.