As a Black-queer-feminist dub poet, playwright-performer, director-dramaturge, and activist-scholar, my work is a continual exploration of the intersections between personal storytelling, creative expression, and social transformation. I am the creator of the Anitafrika Method, a decolonial methodology that empowers individuals and communities to explore their identities and socio-political locations through nine guiding principles. The Anitafrika Method’s flexibility makes it a transformative framework for personal and creative development across disciplines.
From this methodology emerges Critical Dub Pedagogy, a teaching framework that reimagines education as a Circle of care, accountability, and mutual respect. Critical Dub Pedagogy integrates the principles of the Anitafrika Method into educational practice, nurturing a space where practitioners are empowered to connect their lived experiences with broader critical theories such as intersectionality, decolonization, and social justice. It is a pedagogy of storytelling, where every gesture, breath, and word becomes a tool for self-expression and collective liberation.
Through the creative application of the Anitafrika Method, I have developed two artistic frameworks:
Biomyth Monodrama, a solo performance genre combining personal narrative and decolonial storytelling, exemplified in works such as blood.claat.
Ritual Dub Theatre, an outgrowth of Biomyth Monodrama that fuses Jamaican Pantomime, magic realism, and choreo-dub-poetry. Featuring overt socio-political messaging and an Ancestor Posse as a central element, this genre is exemplified in works like lukumi: a dub opera.
In my teaching, I prioritize the integration of theory and practice. My courses, such as Decolonial Performance Praxis & Biomyth Making and Ensemble Building, encourage students to explore their identities through personal and collaborative storytelling while grounding their creative work in critical frameworks. As one student reflected, “This course helped me connect my life experiences to the world around me, empowering me to imagine new possibilities through storytelling.”
The Circle is central to my pedagogical approach, embodying the philosophy of Ubuntu: “I am because you are because we are.” This collective practice challenges colonial hierarchies, building a communal space where practitioners feel safe to experiment, take risks, and confront their truths. Students have described this approach as “a sacred space of transformation.”
My work extends beyond the classroom to initiatives like the Black Womxn Theatre Archive Project and the Ubuntu! Decolonial Arts Centre, spaces dedicated to creating opportunities for Black, Indigenous and Global Majority creative practitioners. Through these projects, I continue to develop methodologies and practices that bridge personal empowerment, creative innovation, and systemic change.
As an artist-scholar, my mission is to cultivate spaces where storytelling becomes a ritual of liberation. Whether through performance, pedagogy, or community engagement, I strive to inspire practitioners to reimagine their worlds through art.