Tracing Visions embodies the common threads of community and empathy, reminding us that we are one people. The first movement, TILL. is an elegy dedicated to parents of the Uvalde massacre, Emmett Till, and even Ruby Bridges mother, the latter who had to find strength enough to allow her child to face the dangerous climate of hate in the midst of desegregation. Written during the time of Uvalde, it began to expand itself to be a voice for the grief that we all continue to feel for the tragedy. There is a section within the music that personifies the ugliness of apathy and violence of domestic terrorism, which is met by an anthem of fierce parental statement – a battle cry that all children ARE human beings who have a right to exist within a safe environment, in order to for the genius blueprint seed to grow within each of them.

The 2nd movement, called Amandla! (Which means “power!” in Zulu) is a tour de force juba that celebrates the work of the Sphinx Organization. As a concert finale-style work in its own right, Amandla! personifies a vision of unity, with melodies and grooves that depict many cultures coming together into an empowered tapestry of voices. To the composer, this is the very definition of the ethos of Sphinx. At certain points within the music, small chamber configurations briefly emerge to recognize the breadth and depth of Sphinx’s work in developing future leaders within the arts industry. Featuring the morse code word, “Sphinx” at the beginning as the main motif throughout, this jubilation movement fills the stage with dancing rhythms that allow the “Familia” to cut loose with joy.