Da'Shawn Mosley became an editor of Sojourners magazine in 2017, after he served as Sojourners' online assistant from 2016-2017. He earned a B.A. in English Language and Literature from the University of Chicago and graduated from the South Carolina Governor’s School for the Arts and Humanities, where he studied and briefly taught creative writing. Da'Shawn is passionate about the arts and social justice; he is interested in stories about class, gender, politics, pop culture, race, religion, and sexuality. In 2012, he was named a U.S. Presidential Scholar in the Arts by the White House and the Department of Education for his works of creative nonfiction.
Da'Shawn was a researcher for two documentaries by the Oscar and Emmy-winning filmmaker Kirk Simon (The Pulitzer at 100, Where Has All the Play Gone?) and was featured in the PBS documentary Becoming an Artist. His poem "I Don't Know" was published in the anthology The Best Teen Writing of 2011 and received a Scholastic Art & Writing Award from former poetry editor of The New Yorker Alice Quinn, NAACP Image Award winner Nikki Giovanni, Pulitzer Prize winner Vijay Seshadri, and other luminaries. An excerpt of his essay "Dark Matter" was exhibited in the Smithsonian National Portrait Gallery. Da'Shawn is a native son of South Carolina.
Posts By This Author
The Horror of 'I, Tonya'
From rural, residential life to news cameras to FBI investigations, I, Tonya is a sweeping view of an America that has barely changed since 1994, and certainly hasn’t improved much. It’s a film about how, in the words of screenwriter Steven Rogers, “America wants someone to love, but they also want someone to hate.”
2017 Is the Year of ‘When Did You Know?’
On 2016, David Axelrod, the chief strategist of Barack Obama’s presidential campaigns, interviewed Jon Stewart at the University of Chicago, my college campus, for his CNN podcast The Axe Files. I was in an audience of students eager to see the former host of The Daily Show return to the public eye, and I’d wanted to ask him a question during the Q&A portion. I didn’t get to, but I am confident that even if I had, my question would not have been as important as Dan Ackerman’s.
The Personal Is Protest
REV. OSAGYEFO Uhuru Sekou’s album In Times Like These does something I’ve never witnessed any other recorded musical project do: It sings before track one even begins. Printed on the inside of the album’s CD case is one of the most powerful commentaries on the 2016 U.S. presidential election I’ve read. “The Task of the Artist in the Time of Monsters,” written by Rev. Sekou, is simultaneously an artist statement, a poem, and a call to action for the world to engage passionately in “the art of loving and living.”
Sekou’s album is a rousing sermon that may re-energize social justice activists who listen to it, keeping them engaged in “the movement.” At the same time, it’s also an extended prayer of sorts, lamenting the wrongs of the world and asking God to alleviate society’s pains. “In times like these / we need a miracle,” Sekou sings in the chorus of the album’s title track, one of the project’s standouts.
However, despite his call for divine intervention, Sekou doesn’t allow believers in a higher power to sit back and rest assured that God will do the work they should be doing. He completes the chorus of the song “In Times Like These” with the much-appreciated but potentially controversial statement: “Ain’t nobody gonna save us / We the ones we’ve been waiting for.” In a time that calls for bold, social justice-minded commentary from artists, Sekou delivers.
Kendrick Lamar Is a Great American Writer, But There Is Room to Grow
For what the singer/songwriter/music producer Pharrell said two years ago about Kendrick Lamar is absolutely true. Kendrick Lamar is the Bob Dylan of his generation, an American storyteller on the same plane as Toni Morrison, Eugene O’Neill, Pearl S. Buck, and other U.S. Nobel Prize in Literature laureates. Why this statement may seem overblown is because of highbrow bias against hip-hop, which is to say bias against black language, black storytellers, black people. But, to quote Chuck D, the leader of the rap group Public Enemy, hip-hop is “CNN for black people.” And Lamar is the best reporter in the business.
‘The Shack’ Is One More Disappointing Reminder that ‘Christian Art’ Is Often Bad
The Gospel isn’t simplistic, and its representations shouldn’t be, either. If The Shack were created with this creed in mind, perhaps it would be a better work of art. Instead, sadly, it’s nothing more than a religious tract.
“Here at NASA, we all pee the same color,” says Harrison.
But this scene never happened. Harrison never took a crowbar to a “Colored Ladies Room” sign. He never solved Johnson’s dilemma of having limited accessibility to a legal bathroom. Harrison’s action is a fabrication framed as history, one that could easily be recognized as an insidious white savior narrative created and advanced by the white people who made the film.
The Melancholy of Race
The first time I saw Amy León, she was standing in a church that was about to explode. Or had already exploded — I couldn’t tell. I was watching the music video for her song “Burning in Birmingham,” a reenactment of the 16th Street Baptist Church bombing that took the lives of four black girls on Sept. 15, 1963 in Birmingham, Ala.
'Religious Freedom Has Never Been Unfettered'
“Religious freedom has never been unfettered. It has always been the case that you are free to exercise your religion — as long as it’s not hurting anyone else,” Bishop Gene Robinson said.
We Have to Hold President Obama — and Ourselves — Accountable for Naive Rhetoric
America rests on a foundation of sin. Its body is strong but its soul is dead. Yes, America provides so much freedom and benefits so many lives. But woe to us if we look at this country’s glass as half full when so many of our fellow citizens barely have water at all. Woe to us if we praise the calm in our lives while failing to give the distress of others’ lives the full attention it needs.
Any speech about America that fails to look at this nation’s current state with the realism and gravity it deserves is speech about a country that doesn’t exist. The America that President Obama spoke of, in his farewell address, is an America I barely recognize.
To Resist Trump's Rhetoric, Hollywood Must Diversify
Let us not forget the impact that D.W. Griffith’s The Birth of a Nation had on America when it was released in 1915. An adaptation of the novel The Clansman: A Historical Romance of the Ku Klux Klan, there’s little doubt in my mind that the film’s racist depictions of African Americans and affirming depictions of Klansmen formed and hardened the discriminatory beliefs of many white people in the U.S., making them further believe that black people were undeserving of fairness, respect, and freedom. The Birth of a Nation is a prime example of why we need new stories, told from the perspective of identities that are generally ignored and denigrated.