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Estevanico: The Man The Myth, The Legend

NNPA NEWSWIRE — Sometimes called “Mustafa Zemmouri,” “Black Stephen,” “Esteban the Moor” or “Steven Dorantes” (after his owner Andres Dorantes, a Spanish nobleman), Estevanico was a member of the Panfilo de Narvaez 300-man Spanish expedition which arrived in April 1528 near present-day Tampa Bay, Fla. The expedition was largely doomed from the start.
The post Estevanico: The Man The Myth, The Legend first appeared on BlackPressUSA.

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3 years ago

October 3, 2022

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The first Black person in the New World

By Merdies Hayes, Editor | Our Weekly

The history of slavery in the Western Hemisphere has, of course, been well documented but there is one name that is often overlooked in within the posterity of Black people in the New World: Estevanico.

Sometimes called “Mustafa Zemmouri,” “Black Stephen,” “Esteban the Moor” or “Steven Dorantes” (after his owner Andres Dorantes, a Spanish nobleman), Estevanico was a member of the Panfilo de Narvaez 300-man Spanish expedition which arrived in April 1528 near present-day Tampa Bay, Fla. The expedition was largely doomed from the start. This was not uncommon among the list of Spanish conquistadors who ventured to the New World seeking fertile land and untold riches imagined from the artful tales of Giovanni Verrazano who explored the northeast, Cabeza de Vaca in the Gulf of Mexico, Hernando Cortes in Mexico, Hernando de Soto near present-day Florida, and Francisco Pizarro far south in Peru.

Who was Estevanico?

Chroniclers from the 16th Century, who were contemporaries of Estevanico, considered him a Negro. However, modern historians claim he was descended from the Hamites who were White residents of North Africa. According to this theory, Estevanico could not have been Black. Historian Caroll L. Riley has asserted that Estevanico was “Black in the sense that we would use the word in modern America. Actually, in modern generic terms I suspect that Estevanico was very mixed.”

Riley also explained that if Estevanico was considered a “Negro,” his mixture must have been mainly Black. Estevanico in 1513 was sold into slavery to the Portuguese in the town of Azemmour, a Portuguese enclave on Morocco’s Atlantic coast. More contemporary accounts have referred to him as an “Arabized Black” or Moor, the latter term often used for Berber natives. History primarily refers to him as a Black African. A Spaniard, Diego de Guzman, reportedly saw Estevanico in 1536 and described him as “brown.”

Estevanico was reared as a Muslim—with some accounts of him converting to Roman Catholicism—but there is little historical account of his religious conversion.

The natives of one tiny island off the mainland coast (Galveston Island near Texas), encountered a strange sight in 1528: A band of emaciated White men lying naked and near dead on the beach. This group, in large part, was what was left from Narvaez’ expedition with de Vaca serving as its treasurer. Narvaez dreamed of riches when he reached the Florida coast and after finding mere traces of gold, he split the group and dispatched the ships toward the River of Palms (today’s Rio Grande) and took the land force toward a reportedly “rich” city brimming with gold and silver called Apalachen (near Tallahassee, Fla.).

A doomed expedition

Instead of finding their heart’s desire in wealth, the only things encountered in the Florida Panhandle were naked Native Indians, low supplies of food and even less game. The 260-man party lasted two weeks in this region, and eventually set out on makeshift boats with sails made from clothing. This was a fateful mistake. There was practically no food left or fresh water to drink. After constantly bailing water from their rickety crafts (and forced to drink salt water), only a few people survived and made it to shore. Narvaez was lost at sea.

Cortes, for his part, had listened faithfully to these “tales of riches” but found neither a queen called “Califia” nor gold and pearls along the west coast. He did, however, step ashore onto what he believed to be an island (Baja California) finding neither riches or fertile land, but would claim the land for the Spanish crown.

Cabeza de Vaca eventually made it to Mexico with only three men, among them Estevanico. There they recounted the horrors of slavery, starvation, cannibalism and disease which took the lives of 90 men. They reportedly posed as shamans, crossing the land curing sick Indians and attracting quite a following in being labeled “children of the sun” because of their long journey from the east. By the spring of 1529, those four men had traveled on foot along the Texas coast to the environs of Matagorda Bay (about 80 miles northeast of Corpus Christi) only to be captured and enslaved by the Coahuiltecan Indians. Six years later the four men managed to escape their bondage and entered Mexico.

Arriving in Texas

Estevanico was assuredly the first African to traverse Texas. In fact, historians believe he was the first African to visit the indigenous people of Mexico and may have reminded the inhabitants of the ancient sculptures of the Olmec civilization in Mesoamerica (1200-900 B.C.) which depicted persons with Black facial features. Estevanico, by extension, may have been considered by the native population as a descendant of the gods. Some writers have claimed that the Olmecs were related to the peoples of Africa, based primarily on their interpretations of said facial features, even contending that epigraphical and osteological evidence may support their claims. Further, some researchers have claimed that the Mesoamerican writing systems are related to African script. To date, however, genetic and immunological studies over the decades have failed to yield evidence of precolumbian African contributions to the indigenous populations of the Americas.

By 1539, Dorantes had either sold or loaned Estevanico to Viceroy Antonio de Mendoza, who later assigned him to the company of Fray Marcos de Niza, the latter charged with leading a follow-up trip to the region of the failed Narvaez expedition. In a strange coincidence, Estevanico and others were surprised to encounter de Vaca near present-day San Antonio, Texas. By then, de Vaca had been working as a trader among the various Native Indian tribes. They resided in that region for about four years with Estevanico working as a shaman or medicine man versed in several Native Indian languages and also demonstrating his prowess as a seasoned explorer.

Estevanico must have been a strange sight to the native peoples. He rode around with a special gourd trimmed with owl feathers that signified his status. He reportedly had an entourage of some 300 natives, kept two Castillian greyhounds as pets, and possessed a special “medicine” wand with bells affixed to it said to ward off (and supposedly cure) various diseases. He also carried with him special plates made of turquoise specifically for his meals. He even had a special lodging constructed fit for a man of his stature.

Dreams of untold riches

Like the others before him, Estevanico was consumed by discovering the Seven Cities of Gold. His ultimate goal was to reach one of the seven famed cities of Cibola (near modern Zuni, NM) which was said to have streets paved with gold. When Estevanico and his entourage arrived at Hawikuh, a Zuni pueblo made of stone buildings several stories high, he expected to be treated as the man of stature he’d become accustomed to.

But the Zuni’s didn’t trust him. They especially disapproved of his gourd covered with owl feathers which were a symbol of death to that tribe. Also, his rather unusual stories about great White kings from far away further drew suspicion among the Zuni tribal leaders. There are two general accounts surrounding the fate of Estevanico. In one scenario, the Zuni people decided he was a spy (or simply a fraud) and killed him. Some accounts contend that he offended the Zuni people so much that they staged three executions eventually cutting up his body into little pieces. A second theory is that the Zunis didn’t kill him and that Estevanico staged his own death with the help of his allies, therefore finally gaining his freedom from slavery. The latter theory is supported by the fact that his body was never found.

His mysterious demise

The Zunis were asked why they killed Estevanico and they said that he claimed a huge army was following him with weapons meant to kill their tribe. Several of his Native Indian escorts reportedly escaped from the Zunis and returned to Mexico to inform Fray Marcos that Estevanico was dead. In his report to Viceroy Mendoza, Marcos said that he continued to travel north to at last enter Cibola (or Hawikuh) and upon arrival he witnessed a chief with Estevanico’s turquoise dinner plates, his two greyhound dogs, and his famed “medicine” bells.

Irrespective of his demise, Estevanico is one of many historical figures of color who manipulated their situation to move between cultures and transcend their humble beginnings. His is a true story of transformation from a slave to a man of legend evidenced by the Zunis memorializing him in a black ogre kachina (a doll measuring about a foot high with protruding teeth, a black goatee and black facial paint) which they called Chakwaina.

A legendary adventure

The tale of Estevanico is more than a story told in the oral tradition. Often, the history and contributions to society by Black persons prior to European settlement in the New World are considered less authentic and reliable in terms of literary content because it was believed Blacks did not ascribe to a written language. Estevanico did not write a diary or narrative of his exploits.

However, two small thin volumes of literature provide a wealth of information about this early explorer. John Upton Terrell published “Estevanico The Black” in 1968 and at only 115 pages, it ranks as one of the most informative books about an extraordinary figure who doesn’t always receive due attention in secondary education. In 1974, “Estebanico” was issued by Helen Rand Parish. Even smaller than Terrell’s book at 128 pages, she wrote that Estevanico could be considered “new historical history” particularly for young readers.

Also, “The Moor’s Account” by Laila Lalami (2015) provides a more fictional account of Estevanico. The author created her own back story about the events that led up to his enslavement and then fills in gaps of what we know about the Narvaez expedition that would eventually place Estevancio’s name in the history books.

No one knows where Estevanico is buried. Hawikuh no longer exists, having been abandoned in 1670 following a series of wars the Zunis fought against the Spaniards and the Apache. But Estevanico’s story, recorded in colorful detail by his fellow explorers Cabeza de Vaca, Fray Marcos, Coronado, and Pedro de Casteneda, endures as one of the great adventures in American lore.

The post Estevanico: The Man The Myth, The Legend first appeared on BlackPressUSA.

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

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5 days ago

March 24, 2026

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM). “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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Grief, Advocacy, and Education: A Counselor Reflects on Black Maternal Health

SAN DIEGO VOICE & VIEWPOINT — Last month healthcare leaders, birth workers, and community members gathered to honor the legacy of Charleston native Dr. Janell Green Smith, a nurse-midwife and doctor of nursing practice who died in January from childbirth complications. She had participated in more than 300 births and specialized in helping Black women give birth safely.

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5 days ago

March 24, 2026

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By Jennifer Porter Gore | Word-In-Black | San Diego Voice and Viewpoint

In 2024, the number of U.S. mothers who died as a result of pregnancy or childbirth dropped compared to 2023. But while slightly fewer Black mothers died that year, they still had three times the mortality rate of white women.

South Carolina’s rates of maternal deaths outpaced even the national rates. In fact, the state’s overall rate of maternal deaths between 2019 and 2023 was higher than all but eight states and the District of Columbia.

Last month healthcare leaders, birth workers, and community members gathered to honor the legacy of Charleston native Dr. Janell Green Smith, a nurse-midwife and doctor of nursing practice who died in January from childbirth complications. She had participated in more than 300 births and specialized in helping Black women give birth safely.

Her death shocked the community and her colleagues who are determined to address concerns about Black maternal health. The event also covered the importance of protecting mental health during grief and of men’s role in solving the maternal health crisis.

As both a therapist and a father, Lawrence Lovell, a licensed professional counselor and founder of Breakthrough Solutions, discussed ways the event’s attendees could process their grief over Green Smith’s death. He also shared ways male partners can advocate for women’s maternal health during pregnancy and childbirth.

Lovell spoke not just as a therapist but also as a father whose own family had briefly crossed paths with Green Smith. The event, he said, emerged organically from a moment of collective mourning.

Despite the grief, “it was still, like, a really beautiful event, a much-needed event, and it almost felt like we were all giving each other a collective family hug,” says Lovell.

His connection to Green Smith, Lovell says, was brief but meaningful during his wife’s pregnancy with their second child. Green Smith was practicing at the same birthing center where they had their child. She began practicing in Greenville a short time later.Even that short connection carried significance for Lovell, given the small number of Black maternal health professionals.

Lovell did not initially plan to become a mental health practitioner; he chose the career path after graduating from college, when someone suggested he consider psychology. His interest deepened when he noticed how few Black men work in mental health.

“Being Black man and playing football in college, there weren’t a lot of people that look like me talking about mental health,” says Lovell. “[I wanted] to give people that look like me an opportunity to work with someone that looks like them.”

Working with Expectant and New Parents

Lovell often counsels couples preparing for parenthood by, helping partners understand what a successful pregnancy, childbirth, and postpartum recovery look like. That often means helping women manage postpartum depression.

As a man, Lovell says, it’s “humbling” that a woman “just trusts me enough to work with me through their pregnancy or their postpartum recovery.”

In his work, Lovell has noticed how few men understand pregnancy before they experience it with their partner. Because early pregnancy symptoms are often invisible, he says, men may underestimate how much support a mom-to-be actually needs.

“Sometimes they may not realize they don’t know much about pregnancy and what to expect in those three trimesters,” Lovell says. “I tell a lot of the men that just because you can’t see [she’s pregnant] doesn’t mean that she won’t appreciate your intense support in that first trimester.”

Education about pregnancy and postpartum recovery, he says, can change how men support their partners.

Teaching Advocacy in the Delivery Room

Another major focus of Lovell’s counseling is preparing men to advocate for mothers during labor.

“Helping men understand what pregnancy looks like: what delivery is going to look like, and what are the realistic expectations that I should have of myself in postpartum,” he says.

Lovell encourages partners to be honest about their expectations for what will happen during delivery. He helps them prepare for the big day by discussing the birth plan and knowing how to quickly recognize problems. Clear communication, he says, prevents misunderstandings.

He regularly trains men to ask their partners detailed questions about their expectations during and after pregnancy. Advocacy in medical settings can be especially important and requires attention to details the mother may not be able to address.

“It’s always important to fine-tune things and truly understand what helps your partner feel most supported,” Lovell says. “Instead of guessing, you should ask.”

Lovell recalls a moment during the birth of his first child when he had to take that role.

During the delivery, “I felt like something wasn’t as sanitary as I’d like it to be,” he says. “I asked, ‘Hey, can you switch those out? Can you change your gloves?’”

Lovell has a succinct but powerful message he regularly shares with clients’ families, and he shared it with attendees at last month’s event.

“Just to believe women,” he says. “I’ve worked with different couples, and sometimes I’m not really sure that there’s enough empathy from the men.”

That includes how women express pain.

“If a woman says, ‘my pain is at a nine,’ just because how you would express yourself at a nine is different than how she’s expressing herself at [that level] doesn’t mean you shouldn’t believe her,” he says.

Empathy, he says, can change outcomes far beyond the delivery room.

“We’ve got to believe women when they’re talking about their experiences and their feelings and their pain,” he says. “I think there’s a lot that we can prevent if we empathize better.”

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Future of Florida’s Black History Museum in Limbo

JACKSONVILLE FREE PRESS — A proposal sponsored by Tom Leek, a Republican from Ormond Beach, has now passed the Senate in back-to-back legislative sessions. But the House version, filed by Kiyan Michael, a Jacksonville Republican, did not receive final approval in either year, effectively stalling the effort.

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5 days ago

March 24, 2026

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Jacksonville Free Press

Plans to establish a long-awaited Black history museum in Florida are once again on hold after legislation needed to advance the project failed to clear the state House for a second consecutive year, despite repeated approval in the Senate.

A proposal sponsored by Tom Leek, a Republican from Ormond Beach, has now passed the Senate in back-to-back legislative sessions. But the House version, filed by Kiyan Michael, a Jacksonville Republican, did not receive final approval in either year, effectively stalling the effort.

Under Florida law, identical or similar bills must pass both chambers before heading to the governor’s desk. Without House approval, the legislation has been unable to move forward, leaving the project in limbo. Long journey, contested location.

The proposed museum, formally known as the Florida Museum of Black History, has been years in the making, with lawmakers and community leaders framing it as a long-overdue institution to preserve and showcase the state’s African American heritage .A central point of contention has been the museum’s location. St. Augustine — widely recognized as the nation’s oldest city and a site deeply tied to both slavery and early Black history — emerged as the leading contender. Supporters argue the city’s historical significance makes it a natural home for the museum. However, competing interests and regional considerations have fueled debate, slowing consensus among lawmakers.

While the Senate-backed measure has consistently advanced, the lack of alignment in the House has underscored ongoing divisions about how and where the project should take shape.

The holdup in the Florida House appears to be less about opposition to the museum itself and more about a combination of procedural bottlenecks, unresolved structural issues, and lingering disagreements over how the project should be formalized and governed.

Despite the legislative setbacks, Republican Gov. Ron DeSantis has publicly voiced support for the museum. Speaking last month during the unveiling of a statue of abolitionist Frederick Douglass in St. Augustine, DeSantis said the project would move forward “one way or another,” signaling an intent to see the museum built regardless of legislative hurdles.

The anticipated museum has already cleared several hurdles. St. Johns County signed an agreement last year with Florida Memorial University to use the land that once housed its campus last year’s legislative session netted $1 million in funding for St. Johns County to work on planning and design for the museum. However, its anticipated that a million $3 million is needed.

Still, without statutory approval to finalize key components — including governance, funding mechanisms and site selection — the project remains largely conceptual.
With the House bill failing again, the timeline for the museum’s development is unclear. Lawmakers could revisit the proposal in the next legislative session, but any further delays risk pushing the project back several more years. Advocates warn that continued inaction could stall momentum for a museum many see as critical to telling a fuller, more accurate story of Florida’s past. For now, the effort remains paused — caught between political support at the top and legislative gridlock within the Capitol.