ARTIST STATEMENT

For an enhanced experience,
Listen to the song: “Where is the Love?” performed by Roberta Flack and Donny Hathaway while you read this. (Keep the volume very low.)

***

My choreographic practice is steeped in rigourous Self Inquiry, disciplined analysis, and emotional recall, that is then embodied. I engage multiple theses around (the nature, function of, qualities, and values of) performance, masquerade, self love, pleasure, and liberation. This praxis is being shaped by my relationship to my Black ancestors and rites of passage through remembrance. I am interested in embodying the full spectrum of human life with all of its colours. Evaluating and re-constructing the manifestations, I then seek to turn these entities inside out, which becomes a meta narrative on the nature of form itself. My choreography engages Black Political Thought and Black Feminist Politic. I am in conversation with traditional African sacred sciences, namely Ifá/Òrìṣà practice (and its expressions in the African diaspora), and Vodou, as expressed in The Republic of Benin and Haiti—all as cosmological, political, and ontological, and axiological frameworks of embodied wisdoms. The philosophical ethos of my work is anti-capitalist. I value the slow and deep and seek to open up space between risk/trust, knowledge/questions, commitment/revolution, rigour/pleasure, softness/force, and autonomy/community. This work is also praxis and methodology, where the product never deviates from the process and the process is maintained integrally in performance. In this way it turns over on itself and can clearly be seen from any vantage point. I know this to be ritual performance, ritual practice, ritualized living.

My work takes form through choreography, dance, movement and embodied practices informed by somatics, breath work and postural restoration®; voice / sound composition; ritual performance in interior space and the natural world; and community-based practice and facilitation. It lives on concert stages, within institutions, and in partnership with land stewards–assuring that performance can function also as social and spiritual technology.

I am developing a creative voice that moves between solo and ensemble work, between formal presentation and participatory ritual (or “with-ness”), allowing process to remain visible and porous. In the coming years, I am focused on consolidating this practice into a coherent body of performance, writing, and pedagogy—work that can circulate through academic, artistic, and community contexts while remaining accountable to its ancestral and ethical roots.

I value integral interiority–where knowledge is not fragmented and connections between Mother and Government, Body and Homeland, Household and Empire, Kitchen and Doctrine, Intimacy and Ideology, Food and Worthiness, Care and Governance– can structurally cohere.

(updated February 2026)