Namaya - Writings, Podcast,
Art & Musings

House of war: House of Glass Zambia 25 July 2025
House of War: House of Glass by Namaya Premieres in Lusaka 25 July 2025 | 7:00 PM | Italian Cultural Centre, 4919 Lubu Rd, Lusaka. Pre-show at 6 PM Presented by Zambian Youth Theater, YOCUPA & GraceCares.orgContact: YOCUPA Group Email: info@yocupa.org | Phone: +260 977 809 376 Website: www.yocupa.org Media Contact: LUSAKA, ZAMBIA — The powerful new play House of War: House of Glass by internationally acclaimed Irish-American playwright and multimedia artist Namaya premieres on 25 July 2025 at the Italian Cultural Centre in Lusaka. Presented by YOCUPA (Youth Community Upliftment Programme for Africa), the performance addresses urgent issues in Zambia including ecology, gender-based violence (GBV), and peacebuilding. Co-directed by Joseph Ntulisha, Bright Banda, Isaac Kalumba, and Dr. Beck Banda, this production launches the Zambian Youth Theatre initiative—spotlighting local young artists as they grapple with climate change and social transformation. A Global Voice, A Local Story Namaya, known globally for his peacebuilding and human rights-focused work in Palestine, Chile, Ireland, Vietnam, and across the U.S., developed the play in collaboration with Zambian youth. His previous works include Beatnik Café (off-Broadway in NYC and Boston), Witness to Genocide (USA & Palestine), and Memoria.Hablar.Dignidad (Chile). His latest book is the novel Jake and the Hobo: My Summer of Love. “This collaboration with YOCUPA and these inspiring young artists has been among the most meaningful of my life,” said Namaya. “Their urgency, vision, and courage demand to be heard. This is more than theatre—it’s a global call to action.” Critical Praise for Namaya’s Work Alison Beth Levy, Independent Art Curator: “Namaya’s art goes straight to the danger zone. The emotionally charged imagery and dialogue around war and peace create a safe space for radical truth-telling. It’s refreshing and necessary.” Ethan Vesely-Flad, Fellowship of Reconciliation: “Namaya shares insights from a life on the front lines of conflict and art. His work sparks open, honest dialogue about justice and peace.” Critical Praise for YOCUPA.org Led by Dr. Beck Banda, MPH, Ph.D., YOCUPA has received wide recognition for its innovative work. Dr. Zoe Kopp of GraceCares.org, a co-sponsoring organization, remarked: “Dr. Banda and his team at www.yocupa.org have been inspirational partners with Grace Cares for five years. We have admired their exemplary work with youth and the prevention of Gender-Based Violence (GBV) through their programs and theater performances.” Zambian Youth Lead the Way This all-Zambian cast brings authenticity and vitality to the stage. “Our young actors aren’t just telling a story—they’re living it,” said director Joseph Ntulisha. YOCUPA notes: “It is a marvel to see how the directors have helped transform these actors. We hope to take this show across Zambia—and beyond.” A Nationwide Tour to Follow Following its Lusaka debut, House of War: House of Glass will tour across Zambia, adapting to local contexts and hosting community dialogues. Dr. Kopp, GraceCares.org, said: “Namaya opens the door globally—but it’s Zambian youth who will walk through, carrying this urgent message.” Premiere Details Venue: Italian Cultural Centre, 4919 Lubu Rd, Lusaka Date & Time: Friday, 25 July 2025 | 7:00 PM (Pre-performance community event begins at 6:00 PM) Tickets: Available at local outlets and online Pricing: General admission – 100 ZMW | VIP – 300 ZMW (Student & community discounts available) Due to limited seating, early booking is strongly recommended. Media & Booking Inquiries YOCUPA Media Relations Phone: +260 977 809 376 Email: media@yocupa.org Website: www.gracecares.org Follow Us Facebook: facebook.com/yocupagroup Instagram: @yocupagroup Twitter: @yocupagroup TikTok: @yocupagroup

Zambia: Voices in the Dust, Dreams in the Drum By Namaya
We’ve been in Lusaka for just over a week, and the beauty and heartbreak of this city continue to unfold. We’re staying in one of the city’s quieter neighborhoods—walled gardens, well-kept roads, a bubble of calm. But just a short walk away, the energy shifts. Streets are crowded with market stalls, smoke from burning charcoal, and children selling vegetables from baskets. This isn’t hardship as metaphor—it’s the texture of daily life. Zambia is a country of immense linguistic and cultural wealth. With more than 72 languages and dialects spoken here, most people move fluidly between English and their mother tongues. English may be the official language, but Bemba, Nyanja, Lozi, Tonga, and others carry the rhythms of family, humor, storytelling, and song. Language here is alive. It dances, resists, and remembers. At the same time, Zambia faces daunting challenges. Deforestation for charcoal has stripped the land, contributing to increasingly severe flooding. The population continues to grow rapidly, while basic services—such as electricity, clean water, and waste management—struggle to keep pace. Even in Lusaka, power cuts are a daily reality. You can’t build a modern economy without reliable energy. Zambia’s copper industry still drives the economy, a legacy of its colonial past when British companies extracted vast wealth while building little sustainable infrastructure. Today, China has become Zambia’s largest investor, investing heavily in roads, mines, and construction projects. These developments are tangible, but so is the growing concern over who truly benefits and who will own Zambia’s future. Beyond the copper, beyond the poverty, there is something extraordinary: the people. Zambia’s true wealth lies in its cultural soul. In the music, dance, storytelling, and generosity of its people. The world sees Victoria Falls—Mosi-oa-Tunya, “the smoke that thunders”—but rarely sees the cultural brilliance that echoes behind it. At the Ministry of Culture, one of the chief ministers was the internationally renowned hip-hop rapper Slapdee, Special Minister Mwila Musonda. A rapper in the Ministry of Culture? How cool is that? With YOCUPA and the beginning of the Zambian Youth Theater, we’re preparing to stage my play House of War: House of Glass in Lusaka on July 25, 2025. Working with young performers who bring their hearts, intelligence, and passion to every rehearsal reminds me why I do this work. Despite limited resources, their energy is boundless. They are not waiting for the future—they’re creating it. We use this insight— the warmth and generosity you feel from the people of Zambia—not as a fleeting impression, but as a call to a deeper connection. Remarkable organizations are doing meaningful work here, from international partners like Ireland and the EU to nonprofits like Oxfam and Plant-A-Million-Trees, as well as our organization, www.gracecare.org. The question isn’t “What can I do?” but “How can I best be of help?” Let this land and its people inspire you—not to pity, but to partnership. Share their stories. Support their work. Stand with them. Namaya b4peace@namayaproductions.com

WATHA: The Wealth of a Quiet Dignity
We spent the week with the Watha people of Kenya, traveling from Watamu and Malindi to their ancestral villages. What is most memorable is the quiet dignity of people who, by every Western measure, live in extreme poverty; and yet, they may be among the wealthiest people we’ve ever met. Nevertheless, life is challenging. Families live in mud huts with thatched roofs, without plumbing or electricity. If a child is lucky, they attend a dilapidated school with 50 other students or more packed into one classroom. In one remote primary school, the desks are 25 years old. The blackboards are crumbling. There are two pit latrines and no water in the school of 500 kids. Schoolbooks are castoffs from other institutions, and the only food the children eat are—just a cup of cornmeal porridge in the morning, maybe two if the school can stretch it. Despite this paucity, the children were laughing. They greeted us with song, dancing in threadbare uniforms handed down over generations. One drum was a plastic water jug. When I pulled out a guitar and harmonica, they lit up, cheering and dancing as if I were a world-famous musician. They’d never seen live music before. That moment, taught me more about joy than any concert hall or theater that I ever played in. Our friend Guyo walked 30 kilometers each way—22 miles—as a child just to attend primary school. He’d sleep on a mat for the week at the school, then walk back. No roads, no crossing guards, just wild boars, snakes, and open terrain. His story isn’t exceptional. It’s normal here. To be clear, there is nothing noble about poverty. It crushes opportunity and limits choices. But the narrative we often carry in the West—that material poverty equals misery—doesn’t hold up here. These kids, without toys, tablets, TikTok, and the thousands of distractions that are the bane of contemporary culture are vibrant. Their families are intact. Their community is strong. No one is alone. What struck us was the contrast between our apparent affluence and wealth in the West. In the U.S., we spend nearly $2 trillion a year on the military, but 25% of our elderly live in poverty. Millions go bankrupt over medical bills. Our infant mortality rate is among the highest in the developed world. In urban centers and rural towns alike, children suffer from food insecurity, addiction, depression, and isolation. In Europe, Russia is spending trillions to destroy Ukraine, and Europe is spending trillions to defend it. We are on a planet wide ecological crisis, that will doom humanity, and we waste millions on war. The US pays hundreds of billions of dollars so that Israel can destroy Palestine and rule supreme, and yet half the world does not have access to clean drinking water. Who are the impoverished people here? The Watha who spend zero dollars on war and military, or the West with their voracious appetite for war? Meanwhile, in Watha villages, people live in what we’d call extreme poverty—but they are wealthy in time, connection, and place. No one smokes or drinks alcohol. There is no fentanyl or drug crisis, or the hundreds of variations of Western neurosis and psychosis. They look healthy and all look strong and fit, and who easily walk a dozen miles a day. No one is obese. Their diet is primarily plant-based. Most have never tasted Coca-Cola or eaten processed food. Most have never ridden in a car. Few have traveled more than a few kilometers from home. They rise with the sun, tend the fields by hand, and rest at midday. They are not consumers. They are participants in life. One elder told me, “We don’t have much, but we have enough.” That phrase could rewrite economic theory. Nevertheless, life here is fragile. Climate change has dried up forests and farmland, making crops less predictable. When water is found, it is often contaminated. Guyo’s mother survived a crocodile attack while collecting water. People walk miles, even pregnant, for basic healthcare. A broken solar panel at school means no light, no internet, and no charging for an antique laptop that no longer runs. We are grateful that our organization www.gracecaes.org, with our generous donors were able to assist in providing five wells with pumps that have helped to transform this community Yes, outside assistance matters—but only when it’s driven by listening and respect. To underscore, as experts on community development, the one essential key is to deeply listen to what people have to say and understand their wisdom. After emailing our supporters about the plight of a school, one donor quickly gave $500 to replace desks and blackboards. That was all the school principal asked for. We wanted to repaint the classrooms, but that’s my Western sensibility. The children don’t complain. They are grateful simply to be in any kind of school and learning. ADHD is often a Western construct, children here are profoundly grateful to be in school and attentive to the teacher. The village elders don’t ask for any kind of luxury. They only asked for help to preserve their culture. Their traditions, stories, and songs are their treasures, and they want their children and grandchildren to inherit them. If we can also help with water access, some basic health care, and schools they area overwhelmed with gratitude. Our support and technical assistance to this community is a partnership. They teach us about community and gratitude, and we offer our support in grant writing, technical assistance, and project planning. We’ve met children in the U.S. with closets full of toys, streaming access to every cartoon, and three kinds of cereal for breakfast—who are far less joyful and content than the barefoot kids we met and danced with in Watha land. We’ve seen kids in New York, Nairobi, and Europe numb from social media and prescription drugs. We’ve know of elders in Florida who live alone in air-conditioned silence, disconnected from their families. We call this modernity.
ART FEAST AT SPAIN RESTAURANT – Namaya Art Rat and Ricky Singh
ART FEAST AT SPAIN RESTAURANT: Namaya Art Rat and Ricky Singh 📅 Thursday, May 29, 2025 | 4–7 PM 📍 Spain Restaurant & Toma Bar | 513 N Tampa St, Tampa, FL [ TAMPA, FL—Spain Restaurant & Toma Bar will transform into a vibrant celebration of art, music, and culture for “Art Feast at Spain Restaurant: Featuring Namaya & Ricky Singh.” This one-night-only event invites the Tampa Bay community to experience bold, playful, political, and profoundly moving art alongside live flamenco guitar and poetry performances. We are very pleased that Spain Restaurant and the Castro family are hosting this art event; they have always supported music and art. The art is on view now through June at the Spain Restaurant. Hyperlink https://www.tomaspain.com/ The event showcases two extraordinary artists: Namaya, a performance poet and artist, is internationally recognized for his works of peace and social justice arts projects. His Fauvist-inspired portraits and political art will have their first Tampa art show. (Namaya’s art has been exhibited worldwide—from San Miguel de Allende to Villa Grimaldi in Santiago, Chile—earning awards for peace art and residencies exploring human rights through art, dance, and theater. Ricky Singh – a St. Petersburg-based artist celebrated for his evocative resin and acrylic art, blending vibrant color, innovative techniques, and cultural symbolism. Singh’s work draws inspiration from his Sikh heritage and contemporary art movements, earning praise across Florida’s arts community. Warehouse Arts District, “Ricky has been an invaluable art guild member with his marvelous creations. He has presented workshops to the community on his art and has inspired many youngsters with this work.” Guests will enjoy: ✅ Delicious Happy Hour Spanish tapas & drinks available from Spain Restaurant ✅ Original artwork available for purchase ✅ Live flamenco guitar by Namaya ✅ Poetry performances from Lorca & Neruda “This event is not just an art show—it’s a cultural immersion,” says Namaya. “It’s art from India from Ricky Singh, and art and performance from Namaya.” 🖼️ Review of Namaya’s Art “Namaya’s art goes straight to the danger zone—and it’s exactly what’s needed in our moment… His direct imagery and willingness to dialogue about war and peace create a safe place to bring matters out from the darkness. It’s exciting and refreshing.” — Alison Beth Levy, Independent Art Curator Admission is free and happy hour drinks and tapas can be purchased. Art collectors, cultural leaders, and community members are invited to meet the artists and experience this unforgettable evening. Follow updates: #Namayaartpeace and for Ricky Singh #Heroncreations on FB & Instagram 👉 For media inquiries, interviews, or high-res images, contact: Namaya – b4peace@namayaproductions.com

ORANGE HAIRED NOBBED OGRE
ORANGE HAIRED NOBBED OGRE 13 February 2025 President (Hardly) Oh NO! Which is the acronym for the Orange Haired Nobbed Ogre! by Namaya Art Rat Peace