Hello hello,

It’s been a little while, so first, thanks for your patience. I’ve been deep in planning mode and wanted to pop in to share a few updates about what’s new with Refracting Africa and what I’ve been up to personally.

Let’s start with the big one: the website got a glow-up.

If you’re reading this blog post on the site, then you’re already seeing it. The new design has been in the works since March, and I’m so excited it’s finally here. I partnered with Nicole McCullum of Captivate Design, who did a beautiful job creating something that feels much more aligned with who we are and what we’re offering.

There are more visuals, more storytelling, and more details about our itineraries, what they are, why we created them, and who they’re for. You’ll find all the info about Misafara, our current itinerary for Tanzania, including open dates for October 2025. (We still have three spots left, by the way, so if you’ve been thinking about it, book now.)

Once you finish reading this post, I hope you’ll take a moment to explore the new site. And if anything sparks a question or even just a feeling you want to share, reach out. I’d love to hear from you.

Now, let’s talk about what I’ve been up to outside of work. If you know me, you know I love the performing arts, especially musical theater. So at the end of May, I had a mini arts tour of my own and saw three shows all featuring predominantly Black casts.

1. Porgy and Bess (Washington, DC)

First up was Porgy and Bess at the Kennedy Center, performed by the Washington National Opera. I’d seen the show years ago in Dallas, but this production was special. Not only was it beautifully staged and sung, but featured my friend, Nicholas Lagesse, in the ensemble. We went to the same alma mater, and it was the first time I got to see him perform live. That alone made the experience meaningful.

Porgy and Bess, written by George Gershwin, is a complex piece. The music is stunning: jazzy, bluesy, operatic all at once but the story includes some troubling racial stereotypes that we have to sit with. I appreciated that the Kennedy Center including thoughtful context about the show’s history in the program and an exhibit. It gave a fuller picture of how the original cast came together and what the show meant at the time it premiered in the 1930s. It’s one of those pieces that is both beautiful and complicated, and I was glad I had the chance to see it again with fresh eyes.

2. Gypsy (New York, NY)

Next up: I went to my hometown to New York City and saw Gypsy at the Majestic Theater, starring the legendary Audra McDonald. I am a huge Audra fan, she’s got six Tony Awards and she was in the original cast of the Ragtime, my favorite musical. I was so curious to see how she would take on the iconic role of Rose.

Traditionally, the role of Rose is played by powerhouse belters—people like Patti LuPone, Bette Midler, Rosalind Russell. Audra, with her classical soprano training, brings something entirely different to the table. And she absolutely delivered. Her version of “Rose’s Turn” gave me chills. I’ve always found the character a little hard to sympathize with, but Audra brought out a level of vulnerability and desperation that made me reconsider. I still didn’t like Rose, but I felt for her. And watching a Black woman inhabit that role brought new dimensions, especially when thinking about the extra hurdles Black mothers face in trying to push their children toward success.

Also, shoutout to the performers Rose’s daughters: Mila Jaymes, Summer Rae Daney, Jordan Tyson and Joy Woods. Beautiful vocals, sharp dancing, and real presence on stage.

3. Goddess (New York, NY)

The final show I saw was Goddess, which a friend tipped me off to via Instagram. It’s a musical rooted in Kenyan folklore, set in Mombasa, and performed at the Public Theater. That alone had me curious. Kenya and Tanzania are neighbors—we share language, landscape, culture—so it felt close to home.

Written and directed by Saheem Ali, Goddess follows Nadira, the goddess of music, who comes to earth in human form and performs at a club called Moto Moto. There she meets a young man who’s come home to take up his father’s political legacy but has a deep connection to music he’s been suppressing. The story blends romance, fantasy, tradition, and self-discovery.

There was Swahili in the dialogue, which was a joy to hear on an American stage, and the music had a richness I wasn’t expecting. The actress playing Nadira, Amber Iman, had a voice that was warm, textured, and soulful and the highlight of the show. I also loved the music (incorporating Swahili words) and the choreography. I hope to take time to read the actual folklore of the Goddess when I have time. It was wonderful to see modern story about East Africa on stage in the United States.

A Recharged Start to the Summer

So that’s what I’ve been up to. It’s been a creatively energizing season, between the new website and getting to experience so much beautiful Black storytelling on stage. I’m feeling grounded and excited about what’s ahead.

I’ll be back here in a couple of weeks with more updates. In the meantime, thank you for reading, and thank you for being part of this growing community.

Talk soon,

~Nyamisi