I make performance and performative works across media-- visual experiments, poetry, devised performance and directing. Below are some examples of my recent collaborations.

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ashes: A journey to self love, Director 

Throughout March and February 2018 at Rites and Reason Theatre, I directed a research-to-performance production of Ashes, a choreodrama written by Zoe Flowers with vignettes co-written by Sherri Pullum. Ashes is based on interviews Zoe conducted with survivors of domestic violence, from around the country and here in Rhode Island. Weaving in and out of the stories is the voices of our ancestors reminding us all of cycles of power, survival, and strength. 

Ashes Director’s Statement

In the last year, two simple words turned a singular story of abuse into millions of stories of abuse: me too. The power of speaking together and in a collective is at the heart of Ashes, a poetic movement exploration that shows us the many “me toos” of women of color from the Middle Passage to the fields of North Carolina, to the beauty salons of today. The poetic refrain “Sometimes I hear voices,” that spoken throughout the piece, summoned and conjured is an evocation of the black and brown women who have survived for us to be here. I borrow the words of the playwrights Zoe Flowers and Sherri Pullum, that in the space of ritual, there are no accidents. Thank you to Zoe and Sherri for sharing their writing with this world, and my gratitude to the actors, Becky, Jackie, Mysia and Pamela, who became a sisterhood throughout this creation process. I am so grateful to the peerless Elmo Terry Morgan for his wisdom and guidance. And I am indebted to the hilarious and no-nonsense production team without whom we would not have such a colorful, melodic and timely production: Natalie Rosario, Chuyi Chen, Kathy Moyer, Alonzo Jones, Brian Moyer, Lisa Batt-Parente, Belu-Olisa Sarkissian and Karen Baxter. Asé!

Nasir Terry and Carlos Sirah in a staged reading of "Rain" by Korde Tuttle at Brown University.

Nasir Terry and Carlos Sirah in a staged reading of "Rain" by Korde Tuttle at Brown University.



after orlando, Director 

“Rain” by Korde Tuttle
Brown University, Providence, 2016

As part of the series “After Orlando: An international action in response to the Pulse nightclub shootings,” I directed “Rain” by Korde Tuttle, a piece about two lovers/friends finding each other after/in loss.

Zavé and I typing away at our visions. 

Zavé and I typing away at our visions. 

manifestroom, writer and performer

Leonard and Bina Ellen Gallery, Montreal, 2014

manifestroom was a conceptual action headquarters, a meeting place for contemporary political needs and a space for interaction with historical documents from radical and artistic movements from around the globe. With my collaborator Zavé Martohardjono, we built futuristic nodal points that held manifestos from the last century.  Example manifestos included those of the Zapatistas, the American Indian Movement, ACT UP, the Quebec sovereignty movement, Idle No More, Yvonne Rainer, and Valerie Solanas’ Scum Manifesto. Over the course of a week, gallery visitors were invited to enter the nodes and follow specific prompts for experimental and performative actions using the available texts. We also performed actions with the collection of manifestos. Typewriters in the center of the installation fed a seemingly endless loop of paper while people were invited to write their own manifestos. Inspired by the phrase “We’ve been waiting for the future for as long as we can remember,” manifestroom was a place where past and future merged in our shared present.

Still from Camp Sanctuary 

Still from Camp Sanctuary 

Written by Nicholas Donias

As part of Brown’s Africana Studies department’s annual play festival “Black Lavender: Black and Queer Playwrights,” I directed the piece “Camp Sanctuary” by Nicholas Donias. Based off of his own experience, the play charted the relationship between two boys who were sent to a gay-to-straight conversion camp in Mexico. The play dealt with complex themes such as religion and homophobia, homosocial intimacy, and internalized repression and abuse. Because the setting was a camp, I directed the show in the round to give the audience the sense that they were also part of the world of the camp.