J.D. Feeney, the executive director of the San Diego African American museum of Fine Art, is spearheading a mission to democratize art access. Following a recent trip to Ghana, where he celebrated his birthday and oversaw the installation of the “Say Their Names” augmented reality (AR) exhibit at the Chim chim museum, Feeney is amplifying the museum’s influence both locally and internationally.His efforts are focused on revitalizing San Diego’s African American art landscape and cultivating global partnerships through artistic expression.

Feeney’s journey into the art world began early, fueled by a desire to “leave the world in a better place than you inherited it.” This principle, inspired by the concept of “kumba” from the principles of Kwanzaa, has shaped his career, which includes previous roles as director of the Museum of Photographic Arts and managing director of the North Coast Repertory Theater. His dedication led him to revive the San Diego African American Museum of Fine Arts in 2014, following the passing of its former executive director, Shirley de Williams, in 1999.

“this is my mission in life,and so and I have lived it,and I still continue to live it,to bring art to the people,” Feeney stated,underscoring his lifelong commitment to art accessibility.

His recent trip to Ghana held meaning beyond a birthday celebration. It was a pilgrimage connected to a past artifact. “There was a poster of slave sales from January 10th, 1855, and I kept it and I kept looking at it and I said, you know what? I’m going to go over there as I was born in 1955, right? And so I wont to go over there and celebrate my birthday,” Feeney explained. While in Ghana, he also concentrated on expanding the reach of the “Say Their Names” exhibit.

The “Say Their Names” exhibit, initially showcased outside the children’s Museum in San Diego, utilizes photogrammetry to create an immersive AR experience. This technology allows viewers to engage with the exhibit through their smartphones, enhancing accessibility for a broader audience. Feeney emphasized the importance of this accessibility, stating that the exhibit is “not elitist” and can be viewed by anyone with a cell phone, nonetheless of their location or economic status.

“Everybody in the world have cell phones. I don’t care where you go. They all have cell phones, and you’re able to see this exhibit through your cell phone, so we it’s not elitist,” Feeney said, highlighting the exhibit’s inclusive nature.

The AR exhibit has attracted international attention, including interest from institutions in New York. While transporting the physical exhibit, consisting of 50 wooden pedestals and aluminum photographs, proved cost-prohibitive, the AR version offered a viable and accessible alternative, leading to its installation in Central Park. The museum is now collaborating with the Schomburg institute in Harlem as part of their 100-year anniversary,employing AR to showcase the legacies of figures like Langston Hughes and Harry Belafonte.

Feeney also addressed the challenges facing the Black Arts and Culture District in San Diego, particularly the devastation caused by recent floods. Marie Widmann Park, a key area within the district, was severely impacted. An AR exhibit called “Stand on Their Shoulders,” which honors influential African Americans in San Diego, is ready to be installed once the park reopens.Feeney hopes for full access to the park by summer.

The museum’s annual “Keepers of the Culture” event, scheduled for February 22nd at the san Diego Cultural Center in Balboa Park, will celebrate prominent Black leaders in the community. This year’s honorees include California Secretary of State Shirley Weber, the Cooper Family Foundation (founders of Juneteenth celebrations), jazz DJ Rhonda Nephew, and Martha Logan, representing historically Black sororities and fraternities.

Feeney views art as a powerful medium for celebrating culture and honoring history. He is committed to bringing the finest art to the San Diego community,collaborating with local museums such as the Temkin Museum,the San Diego Museum of Art,the Contemporary Museum,and the Veterans Museum. These collaborations aim to attract diverse audiences and showcase the talent within the African American community.

“Who I am is I. It’s all I am is really trying to… This is my mission in life. And so and I have lived it and I still continue to live it, to bring art to the people,” Feeney passionately stated, reiterating his dedication.

Despite challenges,Feeney remains optimistic,drawing inspiration from a visit to a slave dungeon castle in Ghana. A sign above the male slave dungeon read, “We are the children of those who refused to die.” This message resonated deeply with Feeney, reinforcing his belief in the resilience and strength of the African diaspora.

“When I went to Ghana the first time,I went to the slave dungeon castle,and there was a sign right above the male slave dungeon and it said,and I’ll repeat it. It says, we are the children of those who refused to die,” Feeney recounted. “And some days later, that brought tears to my eyes and made me say, no, they’re talking about me and us.”

author David F. walker has reimagined Mark Twain’s classic, Adventures of Huckleberry Finn, in his new graphic novel, Big Jim and the White Boy. Walker’s work delves into aspects of the original story that he felt were left unexplored, particularly concerning slavery and the Civil War. He sought to create a unique narrative that stands apart from a simple retelling, prompting him to extensively research Missouri’s history and the realities of slavery during that era. Walker’s goal was to transform Jim into an iconic African American folk hero, while also examining the complexities of his character.

Revisiting a Classic: A Fresh Outlook on Jim

Walker embarked on this project by rereading Twain’s novel and highlighting all passages involving jim. He then faced a crucial decision: whether to retell the story scene by scene or to forge a new path.Walker chose the latter,explaining,”I made the decision really early on to not do that. And the reason why was Mark Twain, there’s two things he didn’t deal with in the book. One is he didn’t really deal with the subject of slavery in a larger context, and then he didn’t deal with the Civil War.”

Walker emphasized the importance of understanding the historical context in which Twain wrote, noting that the novel was written after the failure of Reconstruction. He aimed to address the issues Twain left “on the table,” stating, “if I want this book to really stand apart and not just be a cover song, you know, a cover version of a classic song, I’m going to need to recompose it. I’m going to need to take the, you know, the idea of of what Mark Twain started and build from that.”

Crafting an American Folk Hero

A central theme in Walker’s reimagining is the transformation of Jim into an American folk hero. He drew inspiration from figures like Davy Crockett, Daniel Boone, Johnny Appleseed, and Paul Bunyan.Walker aimed to create an African American folk hero comparable to john Henry, the steel-driving man. He explained his thought process: “I want to take the idea of,of the American folk hero,be that folk hero,uh,someone based in reality… And I wanted to, like, create the only African American folk hero there is that people remember, it’s not the only one, but the only one that people remember is John Henry, the steel driving man. right. And I was like,okay,let’s let’s think about how would we turn Jim into a folk hero.”

Though,Walker didn’t stop there. He also wanted to delve into the complexities of Jim’s character beyond the heroic facade. “But once he’s a folk hero, how do we unpack who he is behind the scenes?” Walker questioned, revealing his desire to explore the multifaceted nature of Jim’s identity.

historical Context: Missouri, Kansas, and the Border Wars

Walker’s research led him to explore the history of Missouri and Kansas, particularly the period leading up to the Civil War. He discovered that the “border wars” between Missouri and Kansas in the 1850s were a precursor to the larger conflict. This deep dive into the history of slavery in Missouri and surrounding states informed his narrative.

Unearthing Historical Nuances

Walker’s work uncovers overlooked aspects of the slavery era, including the “reverse Underground Railroad,” where free blacks were kidnapped and sold into slavery.These historical details are incorporated into the graphic novel to provide a more nuanced and accurate portrayal of the time. This commitment to historical accuracy enriches the narrative and challenges readers to confront the complexities of the past.

One significant revelation is the story of new Philadelphia, Illinois, a town founded by a free man named Frank McWhirter. Even though McWhirter had died by the time Adventures of Huckleberry Finn was set, Walker felt compelled to include him and the town in his story. I had to have him in the book.I had to have the town in the book. I was like, it was one of those things. Like, how come more people don’t know about him? They don’t know about this town, Walker stated, highlighting his commitment to bringing overlooked historical figures and events to light. McWhirter’s inclusion adds depth and context to the narrative, emphasizing the presence and contributions of free African Americans during this period.

The Graphic Novel Medium: A Perfect Fit

Walker’s choice of the graphic novel format was deliberate.A lifelong fan of comics, he appreciates the combination of visuals, imagery, and text, which allows for sequential storytelling. There’s a way to take all these things that I love visual elements,written word,sequential storytelling,history,mixing history with fiction,all these things that I just love.And just going, okay, hear’s a medium that allows me to do this, Walker explained.

He also noted that while film could offer similar possibilities, it is indeed more expensive and complex to produce. Prose, while beloved, feels like a “lost art form” in an era where readers seek a balance between text and visuals. The graphic novel,therefore,provides the ideal medium for Walker to explore complex themes and historical narratives in an engaging and accessible way.The visual elements enhance the storytelling,making it more impactful and memorable for readers.

Marcus Kwame Anderson’s Visual Style

Walker collaborated with artist Marcus Kwame Anderson, whose visual style he describes as “cartoony.” However, Walker emphasizes that Anderson’s ability to convey emotion with minimal lines is a strength. Drawing inspiration from artists like Alex Toth and Will Eisner, Anderson focuses on clarity of action and guiding the reader’s eye through the page. Walker notes, What we want to convey in this story is both emotion and clarity of action. And Marcus and I are always talking about how do we make it easier for the reader to look at a page, to look at a panel, know what to read first, know where the eye is supposed to move.

Despite the seemingly simple style, Anderson’s work is complex and nuanced, effectively capturing the emotions and experiences of the characters.Walker praises Anderson’s ability to create complexity through simplicity, making the graphic novel a visually compelling and emotionally resonant experience. The collaboration between Walker and Anderson results in a powerful and engaging narrative that resonates with readers on multiple levels.

Conclusion: A Thought-Provoking Reimagining

David F. Walker’s Big Jim and the White Boy offers a fresh and thought-provoking reimagining of Mark Twain’s classic. By delving deeper into the historical context of slavery and the Civil War, Walker creates a nuanced portrayal of Jim as an African American folk hero. Through the graphic novel medium, Walker combines compelling visuals with a powerful narrative, inviting readers to reconsider the complexities of American history and literature. The graphic novel serves as a catalyst for dialog and reflection on significant social and historical issues.

“Empty Ride” Premieres at The Globe

The Globe Theatre is set to premiere “empty Ride” tonight, a play by Keiko Green that delves into the eerie phenomenon of ghost passengers reported by taxi drivers in Ishinomaki, Japan. The play, running every Tuesday through Sunday untill March 2nd, promises a blend of humor and heart, exploring themes of loss and the duty to guide lost souls home.

The play’s title, “Empty Ride,” borrows from the Japanese term “Q10,” a piece of taxi jargon referring to a meter running without a passenger. Green’s inspiration stems from a startling statistic: 100% of the taxi drivers in Ishinomaki had reported that they had had a ghost passenger. This phenomenon, documented in an “Unsolved Mysteries” episode, reveals a cultural acceptance of these spectral fares.

Green elaborates on the cultural meaning: It was part of the festival last year. Based on that, they picked it up for the season and they gave us another workshop in the fall. And so that means that it’s been slightly insular,which also means that it’s just keeps changing. Um, so we have been incorporating new pages every day.We will have a new page,I’m sure on opening,um,it just kind of never stop.we’ve been saying that up until 4 p.m. on opening.We will be using that time.

The playwright also shared insights into the play’s evolution: The first draft of this play, it was 72 pages long. It had no ending and it was a mess. And there are characters that don’t even exist now that were main characters then.It’s changed a lot. I think it’s, you know, every playwright has a different process for me. I, I just like to put everything out there, do a horrible draft and just see what sticks. So this one has been on its own little journey as it’s also thematically a little different from some of my other work. It’s a little it’s a little more intimate. It’s a little slower. It’s a it’s a little bit more of a slow. It’s a slow burn. Um, and so yeah, I’m also feeling very vulnerable about the play, so I’m very excited.

Adding to the theatrical spectacle, each actor in “Empty Ride” embodies multiple roles, with one performer undergoing like 11 costume changes through the whole thing.

Moxie Theatre Launches New works Festival

Moxie Theatre is inaugurating its own new playwrights series, the Moise New Works Festival, aligning with Moxie’s mission to champion works by women and non-binary playwrights. This weekend event features staged readings and intensive workshops, offering a platform for emerging voices in theater.

The festival,held at Moxie Theater in Rolando,is free to attend and includes light lunches between readings. The schedule features a block of four short plays at noon on Saturday, followed by three full-length plays on Saturday afternoon and two more on Sunday. This initiative mirrors similar programs at larger theaters like the Old Globe, fostering the progress of new theatrical works.

Attendees might witness the genesis of a future full production, as every year a theatre puts on a full production of a play that had been developed during one of these new works, festivals.

San diego Ballet Reimagines “Carnival of the Animals” with Jazz

The San Diego Ballet is revisiting its production of “Carnival of the Animals” with a contemporary twist, incorporating a brand new jazz score composed by local jazz musician Gilbert castellanos. Traditionally set to music by Saint-Saëns, this year’s performance infuses the classic ballet with a vibrant, modern sound.

In addition to “Carnival of the Animals,” the programme includes “Tangata,” a tango and ballet piece set to music by Argentine composer Astor Piazzolla. This piece, originally written for a bandoneon, a type of concertina or accordion, adds a South American flair to the evening.

Performances are scheduled for Saturday at the Conrad Performing Arts Center in La Jolla, with a 2:00 p.m. matinee and a 7:00 p.m. evening show.

oceanside Museum of Art Unveils “The Alien Painting”

A new painting by Robert Xavier burton, titled “The Alien Painting,” is on view in Oceanside. This work, created live during Burton’s 2023 exhibit at the Oceanside Museum of Art (OMA), is being unveiled before it enters a private collection.

Inspired by childhood toys and action figures, the painting features familiar aliens and space lore details, interwoven with “home textile flourishes” reminiscent of rug, curtain, or wallpaper borders.the intricate details of the painting invite extended viewing and discovery.

A reception will be held on Friday from 5:00 p.m. to 7:00 p.m., and the exhibition will be on view through the 23rd at OMA.