By Nadia Addezio and Sylvie Bello
Special to the AFRO
Professor Coleman A. Jordan teaches architecture at Morgan State University. For over two years, he has worked closely with students and alumni from the Baltimore HBCU, as well as from Tuskegee and Clemson Universities, to realize “ReCall & Response,” a wooden pavilion whose form evokes African instruments, the djembe and the dundun—the latter often referred to as the “talking drum.” This striking work, blending architecture and sound, is now on view at the Marinaressa Gardens in the captivating lagoon city of Venice.
“The drum has always been the heartbeat of everything. The drumline is essential if you look at historically Black colleges and universities. It’s central to the school’s identity,” says Jordan.
That’s why exhibiting in Venice marks a major milestone: it’s the first time an HBCU (historically Black college or university) is participating in a globally renowned event like the Venice Architecture Biennale.
“In the ’80s and early ’90s, only about 2 percent of architects in the U.S. were African American. And now, in 2025, the most recent data I’ve seen still puts us just above that 2 percent. We haven’t made meaningful progress in terms of access to this kind of opportunity. So I believe it’s critical for an HBCU to be represented,” Jordan explains.
The architecture faculty at Morgan State is led by Abimbola Asojo, an educator of Nigerian descent who is well-experienced in African architecture and global issues.
“ReCall & Response” was inaugurated on May 10, coinciding with the opening of the 2025 Venice Biennale. The project aligns with the Biennale’s core theme of “Repair, Regenerate, Reuse,” and seeks to mend cultural rifts between African diasporas and African Americans. It also works to rekindle the shared cultural practices, values and historical ties that have defined their intertwined histories.
A particularly symbolic moment will occur on June 21: “At the heart of the pavilion, a circular opening serves as a ceremonial space. An elder from Ghana will step inside, wearing traditional kente cloth, and pour libations to honor the solidarity between Africa and its global diaspora,” Jordan shares.
Constructed entirely out of wood, the pavilion embraces the principles of environmental sustainability that guide the broader exhibition across this lush green space. It is part of Time, Space, Existence, a major showcase organized by the European Cultural Centre—an independent cultural institution with several branches across Europe, including one in Venice. The structure is built without nails or glue; it’s designed to be easily assembled and disassembled, using only interlocking wooden joints.
Its creative spirit is expressed through both carved symbols and vibrant textiles crowning its peak. Ghana, the cultural thread linking much of the work, is represented in many details—including the Sankofa, an Adinkra symbol meaning “go back and retrieve.” It speaks to the act of reaching into the past to reclaim one’s story in order to move forward. This symbol has become emblematic for many African Americans. While the Sankofa is rooted in Akan tradition, the wax fabrics animating this monumental drum also come from West Africa—Ivory Coast, in particular. These textiles were crafted by Talking Hands, a social project that brings together migrants and refugees currently living in Italy. Many of the artisans come from countries such as The Gambia.
“In a sense, it’s very poetic: taking the idea of ‘talking drum’ and turning it into an instrument that can be played collaboratively. This also reflects the spirit of collaboration behind the project, which is really about bringing people together,” says Amos Asamoah, a student from Ghana at Morgan State University.