The UMSL campus is home to both intentional students and the local community. These two domains intersect often, and we are introduced to motivated students and activists such as Olajuwon Davis. Davis is a philosophy major at UMSL with a minor in criminology, an actor, an activist, a father and he has a story to share.
What made you want to start a book? What inspired you to share your story?
“I began writing the book when I was incarcerated during the Ferguson protest. I was heavily involved in activism and using the arts and stuff to raise awareness. I got targeted by the FBI, found myself being entrapped on weapon charges and was incarcerated during the height of the Ferguson unrest. Literally a day before the announcement was made to not indict Darren Wilson for the killing of Mike Brown Jr. While incarcerated, I was essentially advised by my counsel to not make any statements, to not tell my side of the story. The narrative was out there about these allegations, much of which was false.”
Davis states that the start of writing his book was about having the opportunity to tell his story and be heard, regardless of what would happen. He wrote for as long as he could remember, leading up to the release of his seven-year sentence. Davis is currently working on crafting and publishing this novel.
What is a significant lesson you received while advocating for justice, specifically injustice against black people?
“A significant lesson is that we’re all called to show up in different ways when it comes to black liberation. I assumed that I needed to be loud and be the person with the bullhorn. Be on the frontline and always have boots on the ground. And those roles are important, although they come with a lot of risk. They come with a lot of traps for those who are very vocal.”
Davis also reflects on the risks he came across after being accused and incarcerated. He had a wife and children to look after, which there were no “contingencies in place or a plan B” for them to be looked after while he served time. The consequences he faced and lives with now are those of his relationships and the hurt that came from his family being separated by his incarceration. He knows the vocal roles are important, but has since learned how teachers, journalists and communities are also the grounds of freedom fighters.
While reflecting on his lessons, Davis expressed, “the people who write the stories are who make sure our stories aren’t forgotten. They’re transmitted to a new generation. The greatest lesson had to be black liberation and movement building will look different for different people so it’s important not to judge.”
What are some sources of strength? What motivates you to keep going?
“Well, for one, I could not have survived and sustained myself without community. Particularly the women in my life: my godmothers, my mother, my sister and my children’s mother. While incarcerated and even while free, it’s primarily my community members, through the form of women, to be clear, who continue to provide safe spaces for me.”
Davis names his spirituality as his second source of strength. He ensures that he maintains his ancestral connection, revering and praying to them and all those before him, asking for strength. Lastly, he names his motivation for academia as an outlet, or another means, of fighting through learning and educating others.
A significant transition in his fight for justice and educating others involves storytelling and creativity. This also began with his entry into acting, which he was introduced to as a sophomore in high school. He participated in an interest-based curriculum, which resulted in interning at The Black Rep, a black theater company in St. Louis. He started off doing office work before he was invited to audition for a play called Sarafina!. Davis recounts this memory as what got him into acting and explains how this interest is intrinsically intertwined with activism as a creative outlet. Davis states that Serafina was about South African apartheid, “a very activist-driven production.” Theater itself can be used as the means to invite people to make systemic changes. Davis also mentions that he “learned about global activism and international conflicts when it comes to black and melanated people. Not only did it invigorate my interest in acting, it also ignited a strong desire for activism.”
Since his first role, Davis has continued to act in plays that focus on strong social justice themes.
Acting or otherwise, what are you doing outside of activism that you would like to shine a light on and share with others?
“My documentary (The Seven Ages of Olajuwon) was sent to Berlinale, one of the biggest international film festivals and it was workshopped there. It was developed there by my friend and the director of the film Bobby Herrera. It was also recently granted $100,000 by the Regional Arts Commission of St. Louis (RAC) for it to be developed and so it’s gonna be premiering here in St. Louis, likely at the beginning of 2026.
Another thing that I’m doing with the help of RAC through an artist grant I received is finding the intersection between healing therapeutic practices and incorporating the arts. I’ve started a private practice that involves utilizing new technology such as sound therapy, infrared and red light therapy. As well as massage therapy using light, touch and sound to facilitate transformation and healing. Particularly with justice-involved individuals or those who suffer from trauma related to systemic oppression, domestic violence, etc. So one way I’m showing up in my community now is to utilize the arts in order to help folks heal, especially right now. I’ll be bringing this out to the public here soon, but right as of right now, I’m developing my own methodologies.”
Davis has many things going for him. He continues to find new ways to be an activist and give back to the community with lower risks, but with everything to gain. His power comes from community, spirituality and his perspective simply as a human and an artist.
He states, “Nina Simone said something to the effect of ‘as an artist it’s an obligation to talk about the times’ and as an artist I’m compelled to do the same whether it’s on the stage in a stage play or with music and poetry. It’s important to use art as a means to push the narrative, to push things forward towards liberation and equality.”
This is something that all of us can relate to or remember as we move forward in our personal and public battles for liberation.
