Two Oakland artists take on a massive mural in the city's downtown, only to find themselves at the center of the debate over gentrification and cultural resiliency.
Mosheh has been involved with the art of drumming since the age of four. As an African American, growing up in inner city Chicago, he was taught that the original source of the snare drum I learned to play was Africa . From then on I began to pursue any information I could to connect me with Africa and its vast drum culture.
Mosheh first studied with Atu (Harold) Murray, leader of Sundrummer of Chicago. Then he started traveling east to New York where there were master drummers from Africa and America, notably Ladjie Camera, Baba Olatunji from West Africa, as well as American born Chief Bey.
His first trip to Africa came when he was selected to represent the United States in a festival of cultures with the Darlene Blackburn Dance Company held in Lagos, Nigeria in 1977. From that time on, he has been traveling to Africa studying the culture of the drums and all its many facets. Mosheh has lived and studied in Nigeria, Ghana, Senegal, Gambia, Guinea, and the Ivory Coast mastering the art of drum making as well as playing various drums from each of these countries. He has traveled to Africa over 25 times continuing to expand and deepen my knowledge, earning the title of Tan Tan Jaliba, drumming griot or keeper of the oral traditions of African drums.
Over the years, Mosheh has worked with Art Ensemble of Chicago, Najwa Dance Company (Chicago), Muntu Dance Company of Chicago, Nigerian author and playwrite Wale Soyinka, Don Moye, Kahlil El Zabaar, Kahlil Shaheed, Ed Kelly, John Santos.