Schedule: Full with Abstracts, Bios, & Access Copies

WEDNESDAY, AUGUST 5, 2020

ROUNDTABLE (5:30 - 7PM EST) : "Anti-Racist Futures in Theater and Performance Studies Professionalization"

(Moderated by Lindsay Brandon Hunter, University of Buffalo, PSFG Treasurer)

• Masi Asare, Assistant Professor of Theatre and Performance Studies, Northwestern University

• Aileen Robinson, Assistant Professor of Theater and Performance Studies, Stanford University

• Yumi Pak, Associate Professor of English, California State University, San Bernardino

• Mario LaMothe, Assistant Professor, Departments of Black Studies and Anthropology, Faculty Affiliate, Gender and Women's Studies / Museum & Exhibition Studies, Diaspora Studies Cluster, The University of Illinois at Chicago

• Dasha Chapman, Visiting Assistant Professor of Dance, Davidson College

THURSDAY, AUGUST 6, 2020

PANEL (5 - 6:30PM EST): "Re-enacting Black Urban Futures"

(Moderated by Jasmine Jamillah Mahmoud, Seattle University, Co-Curator, "Performing Black Futures")

Gianina K. Lockley, University of Maryland, College Park, “Explicating the Jit: From the Streets to the Strip Club - Representations of Black Female Sexual Identity"

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Abstract: Detroit, Michigan is most (in)famously known for the soulful melodies of Motown Records, its once booming automotive industry, the 1967 Detroit Race Rebellion, the eras of Bad Boys and Hockeytown during the late eighties and nineties, and periods of high crime and unemployment. What is lesser known to those outside of the city limit is a popularized social dance called the Detroit Jit. Characterized by unique footwork patterns that are performed over a fast tempo, the Detroit Jit emerged in the late sixties and early seventies alongside racial tensions within the U.S. My dissertation, Explicating the Jit: Refracturing Modes of Blackness and Being investigates how forms of cultural transmission and memory-making create new spaces in which Black lives reject hegemonic structures of oppression. I utilize the Detroit Jit as a lens to critically interrogate how spaces that are traditionally considered as nonpolitical—dance competitions or “battles,” male strip clubs, and aspects of street life—provide the preconditions for social movements and acts of resistance. This paper examines the Jit’s transition from the streets of Detroit to exotic male strip clubs in the city during the 1990s and early-2000s and how media and Black popular culture help usher in new representations of Black female identity that allowed male strip clubs to become a space where Black women complicated ideas of traditional Black womanhood, gender roles, class, femininity, sexuality and power.

Bio: Gianina K. Lockley is a doctoral candidate in the School of the Theatre, Dance and Performance Studies at the University of Maryland, College Park. A proud Detroit native and Cass Tech graduate, Lockley’s dissertation “Explicating the Jit: Refracturing Modes of Blackness and Being,” investigates how social dance, like the “the Detroit Jit,” challenge hegemonic structures of domination by creating new spaces of meaning and negotiation. She is two-time recipient of the International Program for Creative Collaboration and Research Grant (2018, 2020); James F. Harris Visionary Scholar (2019); UMD Deans Fellow (2017-2019); Graduate Arts Diversity Award (2008); and Graduate Opportunity Award (2008).

She has performed her one woman play, Just how black? (2009), an ethnoautobiographical exploration into the performativity of blackness throughout the African Diaspora, at The Kennedy Center's 15th Annual Page-to-Stage New Play Festival; Stage TWO Theater; Book and Paper Gallery at Columbia College Chicago; and the Raw Space Gallery in Chicago. Her work has been featured in many publications including the United States International University Gazette Newspaper in Nairobi, Kenya--I am point five (0.5): half-African, half-American (2004), and The Columbia Chronicle (Rodriguez, 2003).

Rebecca Struch, University of California, Berkeley: “Reenacting the Future in Dread Scott’s Slave Rebellion Reenactment”

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Abstract: On November 8 and 9, 2019, contemporary artist Dread Scott and a team of over 500 community performers staged a reenactment of the 1811 German Coast Uprising, just outside of New Orleans. The uprising is considered the largest revolt of enslaved people in the United States, despite being under-remembered in mainstream historical accounts. Beginning with the frequently overlooked presence of oil refineries along the processional route, this paper attends to the performance’s critique of the reformulation of plantation economies into differently extractive economies. Prioritizing this critique, I suggest, is vital for theorizing a community-engaged mode of performance that can begin confronting the entanglements of settler colonialism, antiblack racism, and capitalist extractivism. Such a theory extends Kathryn Yusoff’s assessment of white Anthropocene discourse as always “configured in a future tense rather than in recognition of the extinctions already undergone by black and indigenous peoples” (A Billion Black Anthropocenes or None, 51). Unlike most reenactments that aim for the illusion of temporal purity by staging performances in remote areas without visible markers of the contemporary, Slave Rebellion Reenactment intentionally confounds chronology in order to rehearse new futures through aesthetic interventions into the historical. This annotated form of reenactment, therefore, ruptures the fetishization of white futurity by imagining into the present-future the possibility of a different past.

Bio: Rebecca Struch is a theatre artist and educator with a commitment to community engagement through participatory practice. She is currently a PhD student in Performance Studies at the University of California, Berkeley. Her research on activism and performance focuses on the ongoing aftermaths of slavery and colonialism in performances both on the stage and in everyday life, with a current emphasis on the Southeastern United States. Other research areas include: Theatre of the Oppressed and popular performance, liberation psychology, Black geographies, decoloniality, critical pedagogy, and leftist social movements. In addition to her academic work, she developed a community based theatre program at San Francisco’s American Conservatory Theatre, trained M.F.A. actors in citizen artistry, and is serving her second term on the board of Pedagogy and Theatre of the Oppressed. Prior to pursuing her doctorate, she ran interdisciplinary arts programs at the Stanford Arts Institute. She holds a B.A. in Theatre Arts and Gender, Women, and Sexuality Studies from the University of Minnesota and an M.A. in Applied Theatre Arts from the University of Southern California.

Chandra Christmas-Rouse, Enterprise Community Partners: “Race, Space, and the Poetics of Planning: Toward a Black Feminist Space-Making”

Abstract: This paper explores Black feminist space-making as a challenge to dominant spatial practices and planning apparatuses that drive urban redevelopment in the United States. Recognizing the suppression of Black women’s spatial claims and agency as a manifestation of racialized and gendered structural violence in American cities, this paper examines how Black women navigate and contest dominant practices of spatial production as well as create new spatial imaginaries and practices. Revisiting Henri Lefebvre’s theory on the production of space and building on critical geography and Black feminism theories of Katherine McKittrick, Carole Boyce Davies and Patricia Hill Collins that critically engage questions of space, place, identity and belonging, I argue that Black women are far from passive recipients of structural violence despite conventional approaches to the study of urban planning that often depict Black women as un-spatial, and worse as lacking in respectable claims to the city and belonging. Rather, this research illuminates processes by which Black women space-makers, beyond simply surviving, assert forms of creative agency that counter the spatial dimensions of structural violence. Using Chicago as a critical, emblematic and embedded case, I conduct seven in-depth, multi-method case studies of Black women creative practitioners in Chicago. This research investigates how by reclaiming the city and interrogating spatial politics, Black women creative practitioners vigorously rework the meaning and significance of urban space in ways that carry broader implications for urban planning and development.

Bio: Chandra Christmas-Rouse is an urban planner and data artist who works to reimagine and redesign space — including physical, social and virtual — to make cities more just and sustainable. Her career encompasses developing urban development strategies to reduce poverty, expand economic opportunities, and advance sustainability in cities and regions in the US and developing countries—with a priority on shaping the delivery systems for environmental management, community development, climate action, and city and regional planning. Currently, she works as a Program Officer at Enterprise Community Partners leading programs that focus on regional sustainability goals, equitable transit-oriented development and healing-centered engagement. Her creative practice focuses on building spatial imaginaries and urban planning interventions as a way to inform dialogue and development in cities and to engage the moments of disinvestment through multimedia cartography. Her most recent works were about Black women’s spatial sensibility and the city, broaching interferences among spatial production theory and black feminist theories as a means to transform urban redevelopment in Chicago. She earned a BA in Environmental Sciences and Policy with distinction from Duke University and an MA in Urban Planning from the Harvard University Graduate School of Design.

PERFORMANCE/READING (7 - 8PM EST): The Referendum: An Oral History Performance

(Moderated by Steve Luber, Connecticut College, PSFG Conference Planner & Focus Group Representative-Elect)

Written and Directed by Nikki Owusu Yeboah, San Jose State University

Description: The date is March 6th, 2057, and an impending climate crisis has forced the American people to make a decision: should immigrants be allowed to remain or leave? At a moment in American history where lines are being drawn between “us” and “them,” a referendum decides the fate of a Ghanaian immigrant family and their Black-American tenants. As the two families come to terms with what the result of the referendum might mean for them, they come to realize that because of shared histories of trauma, those lines are not so easily drawn for black people in America. The Referendum is an experimental oral history performance adapted from a dialogue series that took place between African immigrants and Black Americans in Oakland from November 2019-June 2020 on Pan-African black identity in the United States.

Bio: Nikki Yeboah (PhD, Northwestern University) is an ethnographer, oral historian, storyteller, and educator. She is an Assistant Professor in the Department of Communication Studies at San José State University. As an artist-scholar, her research brings together oral history methods and performance to create alternative records of black life. Her work interrogates issues of social justice, identity, and migration among the black diaspora. Her creative work explores black feminist performance aesthetics, and her performance workshops mobilize storytelling to inspire personal and community growth. Her most recent performances have been staged at The Soraya (Los Angeles), New College of Florida (Sarasota) The Hammer Theatre (San José), and The Marsh (San Francisco). Nikki is currently a board member of Storycenter, a non-profit organization that uses storytelling for social justice.

FRIDAY, AUGUST 7, 2020

KEYNOTE PERFORMANCE & ROUNDTABLE (5 - 7:30PM EST): "Performing Detroit's Black Futures"

With

• Salakastar (Keynote performer)

  • Bio: Salakastar is a Detroit born and based actor, singer-songwriter, poet, and teaching artist working in theatre, television, film, and music. She earned her BFA and completed her classical acting training at the State University of New York at Purchase College. She is an artist-in-residence at Poetic Societies, an ensemble member at A Host of People, and is in the touring company of I, Too, Sing America at the Michigan Opera Theatre. She is a founding member of iii Sisters, a Detroit-based feminist writing ensemble. Salakastar is the recipient of a 2018 Gilda Award in Live Arts and a 2020 Kresge Artist Fellow in Live Arts awarded by Kresge Arts in Detroit. Salakastar is set to release her debut album, All Blue: Part One (Majorelle!), in 2020.

  • Description: All Blue: Part One (Majorelle!) is an experimental R+B album and multimedia live performance. Salakastar channels her ancestral spirit “Majorelle” to expand the African-American tradition of rhythm+blues and its lineage in relation to the generational depression experienced by descendants of the survivors of the Middle Passage and the souls that still exist in the deep blue of the Atlantic Ocean. ABP1: (M!) uses the healing technologies of color and music in order to raise vibratory frequencies. ABP1: (M!) extends the healing quality of the color blue as it relates to the 5th chakra at the throat associated with Truth, voice, magic, communication, and purification.

• Franchesca Lamarre (Keynote performer)

  • Bio: 24, From the EASTSIDE of Detroit, Conant Gardens;specific. Franchesca Lamarre is a private art school dropout. Her photo and curatorial works are featured in Contemporary And (C&), Fader, Münchner Kammerspiele, NY Times, and MetroTimes. She has traveled throughout the United States teaching BlackFuturist frameworks at the intersections of art and social justice. She is co-founder of internationally attended AfroFuture FEST, most known for its ticket prices, Black Detroit music and Black youth. She is the founder of internationally membered #COMPLEXPeople book club, organized by beautifully Black-Femme Womxn & Folks. Her 2018 debut film “A Good Cry” where she connects the movement styles of Judith Jamison and Yanvalou is currently showing at The Center for Afrofuturist Studies (PS1). She is the director of VIRAGO an experimental arts documentary following the stylization and presence of five Detroit Black-Femme identifying music artist screening at #AMC2020. Presently, she is working on installation of her debut solo show “Mwen la”, which translates as “I’m here”, in Haitian Creole; this complex body of work features the interdisciplinary practices of film, photography, self garmenting, literature, sound design, illustration, and performance art.

• Biba Bell (roundtable discussant)

SATURDAY, AUGUST 8

PANEL (12:30 - 2:15PM EST): "Sculpting, Sensing, Ascending: on Black Aesthetic Futures"

(Moderated by Krista K. Miranda, Co-Curator, "Performing Black Futures," and PSFG Member-At-Large)

Luke Williams, Stanford University, “Black Weight: Utopian Asymptotes and Black Nonperformance”

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Abstract: Fred Moten is worried about Black artists. It is a concern which I share, that in order to make work that sells, I as a Black artist and thinker, must make work about being a Black artist. The aesthetic demand only feeds antiblack, neoliberal sensibilities that ultimately serve to reify the logistical systems of oppression built upon colonialism and slavery. It’s like being caught in a trap.

The art created by the late sculptor Michael Richards not only steps outside of the trap, but it goes further to articulate a poetics of Black contradiction that performs possibility. When I visited a Michael Richards’s retrospective in February 2019, I felt the trap unfold plainly before me. While the iconography which Richards employs lays bare the historic and symbolic contradictions of African American experience, it was clear that there was a deeper engagement to be had as well. The materiality of Richards’s work generated a performance that more provocatively reoriented the spatial paradigm in which neoliberal art exists. By reading together the co-constitutive performances of the sculptures, I seek to offer an answer to Moten’s concern by articulating the Black performances of impossible weight, suspension, and utopia embedded within Richards’s work.

To investigate the power of Black material performance in Richards’s work, I rely on an interdisciplinary methodology rooted in Black performance studies, the experimental avant-garde, and practices of Black imagination. Feeling my own presence among and within the curation, under the hyperintense white lights in the space, I seek out the nonspace, the place of impossible existential geography, to retain the lesson’s taught by Richards’s poetics. Ultimately, it shows us that Black performance once again makes a way out of no way—and a space out of nonspace.

Bio: Luke Williams is a doctoral candidate in the Modern Thought & Literature program at Stanford University. His work intersects Black Performance Theory, Black Cultural Thought, and African American 20th century literature. Luke specializes in dance within the Theater and Performance Studies department at Stanford, where he explores themes of race, ancestry, and healing. His current creative work tells stories shared between the artist’s father and him as he learns his father’s perspective on being black in an anti-black world. The devised, site-responsive piece weaves together personal narrative and Stanford history to challenge how we understand practices of coping, striving, and dreaming.

Fae Wolfe, “Versing our Bodies--Women of Colour and Somatic Movement: An Emerging Narrative”

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Abstract: The narrative of body has for many years been obliterated from contemporary literary texts; feeling and intuiting have been disregarded due to lack of reputability and validation (Midgley, 2005; Bacon, 2010). More specifically, the narrative of the female voice and/or the female voice of colour has been absent from the dominant discipline of history written by ‘white, heterosexual, middle class men’ (Ruiz, 2012, p.4). Progressively, the last century has given rise to two distinctive narratives: the rewriting of history by colonial and postcolonial women, telling stories of body and identity (Ruiz, 2012); and the narrative of body - emerging over the development of first and second generation somatic and dance-making pioneers (Eddy, 2017). However, dance and somatic movement is still dominated by a Eurocentric ‘worldview’, resulting in a persistent lack of diverse voices within this field. Underrepresentation is the premise of this research – it intends to fill a fragment of this void.

As the need to tell stories is inherent in our human narrative (Bolton, 2014), the central aspect of this inquiry creates space for ‘unheard’ stories to be told. This paper describes a personal and collective inquiry into discovering what common threads emerge for a group of eight women of colour from conscious engagement with our sensed and metaphorical bodies. Methodology is eclectic, combining practice-led research, organic inquiry, autoethnography and heuristics.

Findings allude to the discovery of movement as a universal language, a world-wide modality communicating through immediate spatial relationship. Our group created capacity to go beyond language, strengthening the re-emergence of a new narrative infused with bodily presence, specific to our bodies of colour. Through presence we discovered stories within us, themes comprised of; diasporic histories, heritage and ritual. The most notable being our essential narrative included within the widening field of somatic movement education.

Bio: I am a dance performance artist and somatic movement facilitator primarily focusing on creating space for storytelling to emerge from the origin of body. I explore experiences of ‘marginalised bodies’ as a collaborative inquiry into this distinctive narrative. I recently completed an MA in Dance and Somatic Well-being and am currently discovering how developing somatic tools can enhance collaborative exchange and performance.

My felt sense is that bodies occupy space; in the relational sphere, there is a continual exchange of what is impressed upon our beings from our environments, and what is outwardly expressed in different circumstances of dwelling. This interplay of place, space, self and other offers a unique formation of conditions for self-expression. I like to experiment with creative mediums to explore what it means to be human within the context of our world, particularly through the lens of my queer body of colour.

I aspire to bring the diverse voices of somatic movement into academic contexts and am currently training with Jane Bacon and Vida Migelow on the ‘Creative Articulation Process’ (CAP), learning how to articulate innate experiences in academic contexts.

I have performed as part of the Manchester International Festival at the Royal Albert Hall, Sale Waterside Arts and HOME. I use poetry and improvisational movement to cross boundaries and defy social conventions performatively.

LyaNisha Gonzalez, Texas Tech University, “‘I’m Not Your Superwoman: Imagining Black Female Futures in Theatre”

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Abstract: As a black, female, playwright, and scholar, my work often finds itself interrogating the multifaceted layers of blackness—ultimately exploring the query of what it means to imagine a black, female future. A black feminist through and through, I use my art to constantly position and interrogate black female bodies, answering the siren call of The Combahee River Collective—making my political deeply and seamlessly personal. Theatre has always lived comfortably within that realm. As my fellow African American artists and I continue to strive for equal representation within the realm of theatre, many of us simultaneously grapple with concerns over black identities. What is possible when it comes to blackness? Is there such a thing as a centralized black identity? Of a black female identity? Lisa M. Anderson describes the black feminist aesthetic as “...text or performance that invoke a particular history, politics, and philosophy of a ‘community’...” (Anderson 16) in her book Black Feminist Drama. But what if that history revolves around violence and pain? Can new realities of blackness truly be created out of what is already known—recycled and limiting expressions of that blackness? By delving into Ytasha Womack’s ideas of Afrofuturism and the works of black feminists such as Lisa M. Anderson and Patricia Hill Collins, this paper investigates the ways in which black female performances challenge notions of black feminist futures—how they aim to remove the synonymous relationship that exists between “black” and “pain” in order to frame what constitutes black female experiences devoid of stereotypical expectations of those bodies on the stage.

Bio: LyaNisha Gonzalez is currently working on her PhD in Fine Arts from Texas Tech University and her areas of concentration are Arts Administration and Playwriting. LyaNisha has a BA in Drama from Spelman College in Atlanta, GA and an MFA in Acting from The Actor’s Studio Drama School in New York, NY. Her plays have received Off-Broadway and Off-Off-Broadway productions, including the 44th Annual Samuel French Off-Off-Broadway Short Play Festival last August. LyaNisha’s research focuses on Black Feminism, Black Feminist Drama, Afrofuturism, and the relationship between staged violence against the Black female body and real world perceptions of those bodies. Her dissertation play Black Girl, Interrupted is inspired by the real life events surrounding the mysterious rape and murder of a young, African American army private on an American military base while serving in Iraq in 2005. In 2019, the play went on to receive national recognition at The Kennedy Center for American College Theatre Festival—second place, Paula Vogel Playwriting Award, and Distinguished Achievement, Lorraine Hansberry Playwriting Award.

Truly A. Bennett, The Institute for Doctoral Studies in the Visual Arts, “Black Anime Fans: A Discussion on Afrofuturism and Ascension”

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Abstract: There is a point of intersection between Black anime fans, the Arts, and Afrofuturism where dialogue around ascendance as viewed through a Black lens is taking place. One way of approaching this dialogue is by examining places of overlap between anime and Afrofuturistic artwork, specifically how they both address ideas of ascension. Through the lens of Afrofuturism, a philosophy based on exploration of the intersections between technology and cultures of the African Diaspora, I will examine four Art examples– to include dance, visual art, and music– to understand the similarities that exist in their application of Afrofuturistic ideals and connections to anime. By highlighting these examples, I will demonstrate how anime and Afrofuturistic artworks run parallel in their ways of addressing the idea of ascension. The aim of this paper is to highlight and clarify the cross-cultural and technological connections exhibited within Afrofuturistic artworks and how these works speak to Black anime fans and contribute to their understanding of ascension. The conclusion resolves that Black anime fans can teach us much about ascension through their contributions to and through the Arts that specifically address ideas centering around cyberculture, technology, science fiction, and the creation of a new future as articulated through a Black lens.

Bio: Originally from Detroit, Truly A. Bennett is a Dancer, Choreographer, Musician, and Educator. She has taught workshops and set pieces at various institutions throughout Maryland, Virginia, Washington, D.C., Japan, and Costa Rica. Focusing on a blend of modern and improvisation techniques, Bennett strives to create works that provoke discomfort and discussion. She is also fond of multi-generational casts, seeking to provide opportunities for older dancers to remain active in the dance community, and for younger dancers to learn firsthand from those of prior generations. Bennett received her BFA in Dance Education from East Carolina University and her MFA in Dance from Hollins University. Bennett is currently serving as adjunct Dance Professor at St. Mary’s College of Maryland while pursuing her PhD in Visual Arts: Philosophy, Aesthetics, and Art Theory through the Institute for Doctoral Studies in the Visual Arts.

PERFORMANCE/DIALOGUE (2:30 - 3:30PM EST): Aaliyah in Underland

(Moderated by Jessi Piggott, Stanford University, PSFG Conference Planner-Elect)

Wind Dell Woods, University of Puget Sound

Abstract: I have recently written a Hip Hop remix of Alice in Wonderland titled Aaliyah in Underland. The play, which I term a theorytale, meditates on structural violence, anti-blackness, history, rememory (Morrison), and self-discovery. When Aaliyah is shot by her high school’s security guard, she falls into the realm of Underland. Her journey becomes one of escape and rememory, escape as rememory. As she seeks to re-member herself and make sense of her own death, she encounters the specters of death which haunt blackness in the wake (Sharpe) of slavery and its afterlife (Hartman). In the end, Aaliyah must refuse that which has been refused her and discover ways of being other-wise.

Using Aaliyah in Underland as a think piece, this essay will interrogate the ways in which the play functions as a type of black study, in that it engages in a critique of Western civilization (Robinson) and works to deepen and extend the audiences’ “critical and imaginative relation to the terms of abolition and reconstruction” (Moten). The essay and the play are in conversation with the topics and theories of Black performance, Black feminist futures, Black aesthetics, and the Black radical imagination.

Bio: Wind Dell Woods is a playwright, scholar, and educator. As a theatre artist, his work explores the topics of race, gender, identity, community, and memory. Woods' research interests are in the fields of Hip Hop Theatre, Hip Hop aesthetics, narratology, psychoanalysis, blackness and performance, as well as the themes of death and rebirth, identity, gender, and slang. Currently, he is an Assistant Professor of Theatre Arts at the University of Puget Sound. He is the proud husband of Akilah and new father to Azalea-Sky.

SUNDAY, AUGUST 9, 2020

CLASS OFFERING (11AM - 12:30PM EST): “Afrocentricity X Dramaturgy: Putting Research into the Body”

Lindsay A. Jenkins, Maroon Arts and Culture

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Flyer

Abstract: The above paper proposes an Afrocentric approach to dramaturgy that rethinks traditional dependency on text-based information and re-situates the Afrocentric dramaturg as a dynamic facilitator on the path to deeper connection and self-discovery. This creates the opportunity to theorize on methodology for taking research off the page and putting it into the body.

This experience would include a 45 minute Afrocentric yoga practice followed by a 15 minute guided mediation to the City of Bones. The goal of the yoga practice is to loosen the body, release inhibitions, access the breath and prepare the mind for mediation. The goal of the mediation is to encourage would be actors, directors, producers, teaching artists and students to make deep personal connections to the performances that surround them, past, present and future. Drawing on themes from August Wilson’s dramaturgical exploration of the Middle Passage, this mediation is an example of how contextual information can be delivered in a way that is true to diasporic aesthetics. This approach encourages centering of the self in order to create performances that are in service to the community.

Bio: Lindsay A. Jenkins (L.J.) is a dramaturg, educator, writer and producer based in Los Angeles by way of Dallas, TX. She began her career as public school educator, teaching Middle and High school theatre and writing curriculum. She earned her Master of Arts in Theatre from California State University, Northridge where she worked in Theatre, Performance Studies and Africana Studies departments. She is particularly interested in Black performance heritage, drawing much of her inspiration from the performances of those who came before her. L.J. is the founder and Artistic Director of Maroon Arts and Culture, an organization whose mission is education and empowerment through cultural programming and performing arts. Lindsay has been practicing yoga for over 10 years. She is Yoga Alliance certified in several formats including Prenatal yoga.

CLOSING (1 - 2PM EST): Participant and Attendee Roundtable

Facilitated by Jasmine Jamillah Mahmoud & Krista Miranda, Curators, "Performing Black Futures"