Art

Psalmayene 24 Tackles Complex Issues with Pieces Inspired by “Native Son”

THE AFRO — The Mosaic Theater, at the Atlas Performing Arts Center, 1333 H Street NE, is tackling complex subjects and complicated work with the arrival of “Native Son” written by playwright Nambi E. Kelley, and adapted for the stage from Richard Wright’s classic source material, the novel “Native Son.”

Published

7 years ago

April 17, 2019

Oakland Post

By George Kevin Jordan

The Mosaic Theater, at the Atlas Performing Arts Center, 1333 H Street NE, is tackling complex subjects and complicated work with the arrival of “Native Son” written by playwright Nambi E. Kelley, and adapted for the stage from Richard Wright’s classic source material, the novel “Native Son.”

The website describes the play like so: “Richard Wright’s iconic novel about oppression, freedom, and justice comes to life on stage in this ground-breaking adaptation. Suffocating in rat-infested poverty on the South Side of Chicago in the 1930s, 20-year-old Bigger Thomas struggles to find a place for himself in a world whose prejudice has shut him out. After taking a job in a wealthy white man’s house, Bigger unwittingly unleashes a series of events that violently and irrevocably seal his fate. Adapted with theatrical ingenuity by Chicago’s own Nambi E. Kelley, this Native Son captures the power of Richard Wright’s novel for a whole new generation.”

For renowned playwright, director and actor Psalmayene 24, who will direct “Native Son,” the production had some interesting creative twists and turns. Originally he was tapped by the Mosaic’s founding artistic director Ari Roth to direct a workshop reading of “Native Son” about a year and a half ago. But because of timing of the original play and concerns the source material, particularly the way some characters are portrayed, Psalmayene 24 was asked to write a response play inspired by the criticism author/playwright James Baldwin had for Wright’s “Native Son.”

Since the original play was not quite ready yet, Psalmayene 24’s piece was also bumped up to full production. Hence “Les Deux Noirs: Notes on Notes of a Native Son” emerged as the companion play.

The Mosaic Theater describes Les Deux this way: “Set in the legendary Parisian café Les Deux Magots in 1953, Les Deux Noirs: Notes on Notes of A Native Son reimagines the meeting between Native Son author Richard Wright and essayist/activist James Baldwin. It explores the tension between Baldwin’s searing critiques of Native Son and Wright’s unbridled indignation in response—a confrontation between two mighty African-American artists, with echoes of a present-day rap battle.”

Psalmayene 24 said he understand why some people may have been troubled with Wright’s work.

“Part of the reason why I think people have challenges with the source material is because Richard Wright wrote a piece that people would be forced to grapple with until societal circumstances had changed,” he said. “I feel his uncompromising willingness to tell the truth about the African-American experience is something a lot of people can’t face even today.”

“Unfortunately as time moves on “Native Son seems more relevant today than it did when it came out in 1940.”

For Psalmayene 24, his journey to become one of the District’s premiere writers and directors, has been informative and transformational. His resume shows someone embedded in the DMV theater scene. His directing credits include ”Word Becomes Flesh,” (Helen Hayes Award winner for Outstanding Direction,Play), “TheShipment,” “ NotEnufLifetimes,” and “Read: White and Blue.” He is the recipient of an Individual Artist Award in Playwriting from the Maryland State Arts Council and has received grants from the D.C. Commission on the Arts & Humanities and the Boomerang Fund for Artists Inc. He is currently the Master Teaching Artist at Arena Stage and is the Artist-in-Residence at Bowie State University.

But the Brooklyn native he came to D.C., like many before him, by way attending an HBCU – namely Howard University. He admits to having one vision that developed into the career we see now.

His original plan was to be a revolutionary in the vein of Malcolm X and Huey P. Newton but says, “I fell in love with the arts and I feel like as an artist I still have that desire for revolution particularly when it comes to uplifting the black community and particularly when it comes to uniting people across color lines as well.”

He pivoted from film production, to dance and finally leaving as an acting major. The rational is a revolutionary and traditional as they come.

“To be honest I’ve always loved to act but then one day I was walking in front of the Fine Arts Building and I saw the most beautiful women coming in an out of the building and I said that’s where I need to be,” he said with a laugh.

The ladies may have brought him into that fine arts building, but he didn’t squander the artistic opportunities. He founded a dance company with friends, experimenting with hip-hop, club and street dance mixed with African dance. His group started performing around the area. And then he began to take theater more seriously, more acting and writing jobs began to materialize. “So it’s been sort of this organic journey that i’ve been taken through arts and entertainment,” Psalmayene 24 said.

And what is his secret with listening to his gut instincts and moving so seamlessly through the arts?

“Keeping your eyes and ears open and being conscious about where you are in your life and being responsive to opportunities that come your way,” he said. “Also having a vision for where you’re going. You may have a plan but God’s plan may trump your plan. So there’s this orchestration that seems to be happening that is honestly bigger than me.”

“Native Son” runs through April 28, while “Les Deux Noirs” runs through April 27. For more information on both plays and to purchase tickets please go to: https://www.mosaictheater.org/native-son.

This article originally appeared in The Afro.

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Art of the African Diaspora Celebrates Legacy and Community at Richmond Art Center

Published

2 months ago

February 9, 2026

Oakland Post

‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.

By Carla Thomas

The 2026 Art of the African Diaspora exhibition is on display at the Richmond Art Center (RAC) through March 14. The one-room gallery bursts with more than 100 works – paintings, photographs, sculptures, and mixed-media pieces – each affirming the power, beauty, and vitality of cultural expression across the African diaspora.

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996. Their vision was to showcase the creativity of emerging and established Black artists, bridging communities and widening access to audiences historically excluded from mainstream art spaces.

Over the decades, that founding vision has expanded and evolved, carried forward by artists, family members, and the Richmond Art Center after the loss of Hart-Schuyers and Hayward. In 2018, a new generation of artists formed a steering committee to organize the event; a year later, the exhibition was renamed Art of the African Diaspora to embrace the broader global connections of people of African descent.

The new name reflects not only a broader cultural lens but also an empowered community network that supports artists across the Bay Area. As part of this year’s programming, RAC will host ‘Art of the African Diaspora: Public Art in Our Communities,’ a free panel on Sat., Feb. 21, from 12 to 1:30 p.m. Artists Kristine Mays, James Moore, and Malik Seneferu will join arts administrator Denise Pate for a conversation on the impact and process of public art. The discussion will be moderated by longtime arts advocate and producer Flo Wiley.

Each panelist brings a distinctive voice to the conversation. Mays, known for her ethereal wire sculptures that capture movement and spirit, has exhibited internationally and is represented in collections ranging from the Smithsonian to the Crocker Art Museum.

Sculptor and painter James Moore creates abstract metal works and colorful field paintings that explore movement, balance, and emotion. His recent public art installations include large-scale pieces in Richmond’s Shields-Reid Park. Malik Seneferu, a self-taught San Francisco native, has built a large body of work celebrating African American life through vibrant murals and expressive figurative art.

Representing the institutional side, Denise Pate oversees public arts investments as director of Community Investments at the San Francisco Arts Commission, advancing racial and cultural equity through funding and advocacy. Together, these artists and administrators will trace how public art emerges, from concept to community collaboration, and why it matters.

The Art of the African Diaspora exhibition runs through March 14 at the Richmond Art Center, 2540 Barrett Ave., Richmond. The center is open Wednesday through Saturday from 10 a.m. to 4 p.m. Admission and programs are free and open to the public.

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‘I Was There Too’ Reveals the Hopes, Dangers of Growing Up in The Black Panther Party

On July 20, at the Oakland Museum of California’s Spotlight Sundays, Gabriel, the daughter of a Black Panther Party couple, Emory Douglas, minister of culture, and artist-educator, Gayle Asalu Dickson, gave a raw personal view of being raised in the middle of the Black Power Movement.

Published

8 months ago

August 11, 2025

Oakland Post

At the Oakland Museum of California, Emory Douglas, previously the Black Panther Party Minister of Culture, poses with his daughter artist Meres-Sia Gabriel, creator of the “I Was There Too” multimedia production. Photo by Carla Thomas.

By Carla Thomas

Chronicles of the Black Panther Party are often shared from the perspectives of Huey Newton, Bobby Seale, Angela Davis, or Kathleen Cleaver. However, the view from a Panther’s child was unique on stage as Meres-Sia Gabriel performed, “I Was There Too.”

Gabriel took the audience on her tumultuous journey of revolution as a child caught between her mother’s anger and her father’s silence as the Party and Movement were undermined by its enemies like the COINTELPRO and the CIA.

Gabriel remembers her mom receiving threats as the Party unraveled and the more lighthearted moments as a student at the Black Panther Party’s Community School.

The school was a sanctuary where she could see Black power and excellence in action.

It was there that she and other children were served at the complimentary breakfast program and had a front row seat to the organization’s social and racial justice mission, and self-determination, along with the 10-point platform where the party fought for equality and demanded its right to protect its community from police brutality.

On her journey of self-development, Gabriel recounted her college life adventures and transformation while immersed in French culture. While watching television in France, she discovered that her father had become a powerful post-revolution celebrity, sharing how high school and college-age youth led a movement that inspired the world.

Through family photographs, historical images projected on screen, personal narratives, and poetry, Gabriel presented accounts worth contemplating about the sacrifices made by Black Panther Party members. Her performance was backed by a jazz trio with musical director Dr. Yafeu Tyhimba on bass, Sam Gonzalez on drums, and pianist Sam Reid.

At the Oakland Museum of California, Amy Tharpe, Ayanna Reed, artist Meres-Sia Gabriel and Kenan Jones at the meet-and-greet after the “I Was There Too” multimedia production. Photo by Carla Thomas.

Gabriel’s poetry is featured in the “Black Power” installation at the Oakland Museum of California, and her father’s book, “Black Panther: The Revolutionary Art of Emory Douglas,” features her foreword. She accompanied her father on tour exhibiting his artwork from the Panther Party’s publication as Minister of Culture.

Gabriel considers her work as a writer and performer a pathway toward self-reflection and personal healing. While creating “I Was There Too,” she worked for a year with the production’s director, Ajuana Black.

“As director, I had the opportunity to witness, to create, to hold space with tenderness and trust,” said Black. “Her performance touched my soul in a way that left me breathless.”

With over two decades of musical theater experience, Black has starred in productions such as “Dreamgirls” as Lorrell and “Ain’t Misbehavin’s” Charlene. She also performs as the lead vocalist with top-tier cover bands in the Bay Area.

During the post-performance meet-and-greet in the (OMCA) Oakland Museum of California garden, Gabriel’s father posed for photos with family and friends.

“I am proud of her and her ability to share her truth,” he said. “She has a gift and she’s sharing it with the world.”

Shona Pratt, the daughter of the late BPP member Geronimo Pratt, also attended to support Gabriel. Pratt and Gabriel, known as Panther Cubs (children of the Black Panther Party), shared their experience on a panel in Richmond last year.

“Meres-Sia did a great job today,” said Pratt. “It was very powerful.”

Meres-Sia Gabriel was born and raised in Oakland, California. A graduate of Howard University in Washington, D.C., and Middlebury College School in France, Gabriel serves as a French instructor and writing coach.

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The Past and Future of Hip Hop Blend in Festival at S.F.’s Midway

“The Music and AI: Ethics at the Crossroads” panel featured X.Eyee, CEO of Malo Santo and senior advisor for UC Berkeley’s AI Policy, Sean Kantrowitz, director of media and content @Will.I.A.’s FYI, Adisa Banjoko of 64 Blocks and Bishop Chronicles podcast, and Julie Wenah, chairwoman of the Digital Civil Rights Coalition.

Published

8 months ago

August 11, 2025

Oakland Post

At the inaugural SF Hip Hop festival at The Midway in San Francisco panelists X.Eyee, CEO of Malo Santo and senior advisor for UC Berkeley’s AI Policy, Sean Kantrowitz, director of media and content @Will.I.A.’s FYI, Julie Wenah, chairwoman of the Digital Civil Rights Coalition, and Adisa Banjoko, of 64 Blocks and Bishop Chronicles podcast pose together. Photo by Carla Thomas

By Carla Thomas

“Cultural Renaissance,” the first-ever SF Hip-Hop conference, occurred at The Midway at 900 Marin St. in San Francisco on July 18 and 19. Held across three stages, the event featured outdoor and indoor performance spaces, and a powerful lineup of hip-hop icons and rising artists.

Entertainment included Tha Dogg Pound, celebrating their 30th anniversary, Souls of Mischief, and Digable Planets. “Our organization was founded to preserve and celebrate the rich legacy of Hip-Hop culture while bringing the community together,” said SF Hip-Hop Founder Kamel Jacot-Bell.

“It’s important for us to bring together artists, innovators, and thought leaders to discuss how hip-hop culture can lead the next wave of technological and creative transformation,” said Good Trouble Ventures CEO Monica Pool-Knox with her co-founders, AJ Thomas and Kat Steinmetz.

From art activations to cultural conversations, the two-day event blended the intersections of AI and music. Panels included “Creative Alchemy – The Rise of the One-Day Record Label,” featuring producer OmMas Keith, composer-producer Rob Lewis, AI architect-comedian Willonious Hatcher, and moderator-event sponsor, AJ Thomas.

“The Legends of Hip-Hop and the New Tech Frontier” panel discussion featured hip-hop icon Rakim, radio personality Sway, chief revenue officer of @gamma, Reza Hariri, and music producer Divine. Rakim shared insights on culture, creativity, and his A.I. start-up NOTES.

“AI is only as good as the person using it,” said Rakim. “It cannot take the place of people.”

Rakim also shared how fellow artist Willonious helped him get comfortable with AI and its power. Rakim says he then shared his newfound tool of creativity with business partner Divine.

The panel, moderated by the Bay Area’s hip-hop expert Davey D, allowed Divine to speak about the music and the community built by hip-hop.

“Davey D mentored me at a time when I had no hope,” said Divine. “Without his support, I would not be here on a panel with Rakim and Willonious.”

Hatcher shared how his AI-produced BBL Drizzy video garnered millions of views and led to him becoming one of Time magazine’s 100 most influential AI creators.

“Diverse teams solve important questions such as: ‘How do we make sure we bring diverse people to the table, with diverse backgrounds and diverse lived experiences, and work together to create a more culturally sound product,’” said Wenah.

Self-taught developer, X.Eyee said, “You have to learn the way you learn so you can teach yourself anything. Future jobs will not be one roadmap to one individual skill; you will be the orchestrator of teams comprised of real and synthetic humans to execute a task.”

Activist Jamal Ibn Mumia, the son of political prisoner Mumia Abu Jamal, greeted Black Panther Party illustrator Emory Douglas, who was honored for his participation in the Black Power Movement. Douglas was presented with a statue of a black fist symbolizing the era.

“It’s an honor to be here and accept this high honor on behalf of the Black Panther Party,” said Douglas, holding the Black Power sculpture. “It’s an art (my illustrations) that’s been talked about. It’s not a ‘me’ art, but a ‘we’ art. It’s a reflection of the context of what was taking place at the time that inspired people.

“To be inspired by is to be in spirit with, to be in spirit with is to be inspired by, and to see young people continue on in the spirit of being inspired by is a very constructive and powerful statement in the way they communicate,” Douglas said.

His work embodied the soul of the Black Panther Party, and as its minister of culture and revolutionary artist, he definitely keeps the Panther Party soul alive, and his work is everywhere.

“Brother Emory Douglas is an icon in the community,” said JR Valrey of the Block Report.

“Fifty years later, he’s still standing,” said Ibn Mumia, raising his fist in the traditional Black Power salute.

“Emory is a living legend and so deserving of this award,” Valrey said. “We have to honor our elders.”