My research emerges from twenty-five years of creative, pedagogical, and scholarly practice rooted in Black queer transfeminist, Afro-diasporic, and decolonial lineages. I theorise Black womyn’s theatre as a distinctive field of study, develop African-diasporic frameworks for theatre training, and build archives and institutions that centre Black performance knowledge. This work coalesces in the Anitafrika Dub Praxis—a comprehensive system encompassing the Anitafrika Method, Critical Dub Pedagogy, the Three R Process, Dubography, and a suite of embodied practices (Circleturgy, Decolonial Somatic Practice, Ensemble Integrity Practice, Character Adjacency Practice). My research integrates decolonial dramaturgy, playwriting, acting and directing methodologies, performance autoethnography, trauma studies, liberatory pedagogy, and Caribbean/world theatre traditions. My PhD (2026) produced the first memoir–monograph on Black womyn’s theatre in Northern Turtle Island and articulated the Anitafrika Method as a decolonial training system supported by a resource compendium. Current and future projects include a multi-volume book series on the Anitafrika Method; the Black Womyn Theatre Digital Archive; the ChoreoPantoDub performance cycles (Sankofa, Orisha, Ibeyi trilogies); monographs on Black womyn’s theatre and interdisciplinary sound and film-based translations of my research. As founder of the Black Theatre School (2025) and the proposed Black Womyn’s Theatre Lab, I continue to refine the Praxis through institution-building, ensemble creation, and community-rooted pedagogy, expanding global access to Black feminist performance methodologies.