You know their names: Trayvon Martin, Breonna Taylor, George Floyd — victims of systemic racism immortalized in public consciousness by the Say Their Names and Black Lives Matter movements. Against this backdrop, the Kennedy Center’s Social Impact program, in collaboration with the Washington National Opera and National Symphony Orchestra, presents The Cartography Project, an initiative that explores the pressing question Where do we [Black people] go from here? African Americans have begun answering this question through movements like Blaxit — a trend of “Black Exit” from systemic oppression by moving to African countries and leaving America to escape systemic racism — covered in detail by The New York Times and The Washington Post, The Cartography Project seeks to answer it through art. Its operatic double bill, The Seer and Future of Dreams, directed by Raymond O. Caldwell, with Black composers and librettists, aspires to chart a path forward. The productions — performed January 10, 2025, in the Reach at Kennedy Center — offer poignant moments and thought-provoking concepts but answer the question only in part. Scene from ‘The Seer.’ Photo courtesy of Kennedy Center. The Seer, with a libretto by Brittini Ward and music by Levi Taylor, calls for a mental Blaxit  — a mental exodus from oppressive systems rather than a physical departure. This conceptual Blaxit is bold, daring, and rooted in reclaiming dignity right here in America. The audience meets Ama, portrayed with emotional depth by Melissa Joseph, a 30-year-old office assistant in Detroit, Michigan, who endures the relentless grind of working for an overtly racist boss, played with chilling realism by Jonathan Patton. The lyrical composition poignantly echoes the exploitative dynamics of the antebellum South, masked by the modern capitalist rat race: When you work for us, your time is always mine You get paid, to work day, noon, and night You should be grateful, I gave you confidence, Capitalized your talents, Helped you find purpose. Ama’s journey to liberation does not come from endurance but from a pivotal decision to reclaim her identity and dignity. She undergoes a powerful transformation, symbolized by trading her green office sweater for a long, vibrant kente jacket  —  a visual embrace of African heritage and values such as Sankofa, Kumba, and collective responsibility. Her declaration, “Before these systems identified me incorrectly. My culture preceded me,” underscores the essence of her mental Blaxit. Though she does part ways with her toxic work environment, her freedom is rooted first in her mindset; she reclaims her space and dignity by rooting herself in her cultural identity. The performance of Tesia Kwarteng as the Grandmother/Elder adds a grounded wisdom to Ama’s narrative, while Viviana Goodwin as Irie brings warmth and solidarity to Ama’s transformative journey. The minimalist set design by Bethany Windham becomes intriguing due to its multifunctionality — how easily a bed transforms into a desk and then a restaurant dining table — enhancing the visual storytelling. The costumes by Mark Hamberger are exceptional, where traditional Ghanaian kente cloth is elegantly portrayed with headbands, print-style kimonos, and other vibrant outfits. Scene from ‘Future of Dreams.’ Photo courtesy of Kennedy Center. The second opera, Future of Dreams, with a libretto by Deborah D.E.E.P. Mouton and music by Jaylin Vinson, takes audiences to 2064, following two Black women striving to elect Houston’s first Black female mayor. While thematically resonant, the work feels repetitive, echoing questions already explored in Rachel Lynett’s Letters to Kamala (2024), which featured historical Black women in politics: Charlotta Bass, the first Black woman candidate for U.S. Vice President Charlene Mitchell, the first Black woman to run for U.S. President Patsy Matsu Takemoto Mink, the first woman of color elected to the U.S. House of Representatives Kamala Harris, the first woman of color elected U.S. Vice President Despite being set 40 years apart, Letters to Kamala and Future of Dreams pose the same ol’ questions to Black women: Can you lead? And at what cost? Viviana Goodwin and Tesia Kwarteng deliver nuanced performances as Imani and Magdalena, but the narrative struggles to break new ground. The narrator, played by Mouton, critiques political stagnation with searing lines: Progress feels like opposite sides of a two-party coin, ready to flip once elected, but never making change. The narrator’s all-white garb evokes the archetype of an authoritarian figure with moral uprightness and integrity, reminiscent of the prince in Folger Theatre’s Romeo and Juliet and the Prime Minister in Washington National Opera’s Fidelio. She spoon-feeds us answers, calling for us to bet on a dream, which evokes MLK’s “I have a dream,” Barack Obama’s Dreams from My Father, or the circulating quote “I am my ancestors’ wildest dreams.” But is it the story moving the narrative forward or regurgitating the same tropes? Debate podiums are placed on opposite sides of the stage, a striking visual symbolizing the literal and ideological divide in political discourse. Director Raymond O. Caldwell’s signature choices, including the alternating spotlight technique during the muted speeches, add dramatic tension. Despite a talented ensemble, there is room for improvement in portraying the voters, as rarely are political audiences limited to three or four individuals in a nation of 334 million. Incorporating multimedia elements to depict a larger, virtual electorate in a technologically advanced future could add a layer of realism and futurism to the opera. The iteration, expected to later develop into full operas and go on tour in fall 2025, is off to a spectacular start. Its use of African talking drums and operatic renderings of colloquial expressions like “gurrrrl” breathe fresh air into the traditionally Eurocentric operatic canon. These elements mirror the Kennedy Center’s earlier reimagining of Jungle Book, which fused Bharatanatyam dance and Hindustani music to reclaim a colonial narrative. Brittani Ward (Librettist, ‘The Seer’), Levi Taylor (Composer, ‘The Seer’), Deborah D.E.E.P. Mouton (Librettist, ‘Future of Dreams’), Jaylin Vinson (Composer, ‘Future of Dreams’). Photos courtesy of Kennedy Center. This double bill was more than an artistic endeavor — it’s a cultural milestone. It is a bold, compelling reflection on identity, politics, and cultural heritage. With continued nurturing, Kennedy Center’s Social Impact program is poised to redefine opera’s landscape, amplify underrepresented voices, and inspire a broader transformation across the arts, all while restoring Black dignity along the way. Running Time: Approximately 70 minutes. The Cartography Project: Black Futures was performed on January 10, 2025, in Studio K at the REACH at the Kennedy Center. The Seer Libretto by Brittini Ward | Music by Levi Taylor Future of Dreams Libretto by Deborah D.E.E.P. Mouton | Music by Jaylin Vinson Raymond O. Caldwell, Director Joshua Horsch, Conductor Carlos Simon & Marc Bamuthi Joseph, Mentors The complete program (including credits, bios, and libretti) is online here.