Adrienne on trans superheroes, creating a rock opera, & the power of community

18402303_562916973878560_5778604899302226476_o
Photo by Baruch Porras-Hernandez

What’s your name and how do you identify yourself in the world?

My name is Adrienne Price. I identify myself as a trans woman artist-activist.

How are you doing?

In this moment, I feel a sense of relaxation and joy, which is in a sea of anxiety, fear, and worry that a lot of us are dealing with right now.

What do you mean when you say a lot of us are dealing with that right now?

We’re living through a time that feels more unpredictable than a lot of us have experienced in our lifetimes, which is related to the current administration but is more complex than that. Because of technology and media we are so aware of so much going on in the world. That can lead to a sense of desire to change things but also a feeling of helplessness that we could never fix all the things that need to be fixed. That leads to this anxiety, this perpetual state of worry about the world and how we’re going to survive it.

That’s well put. Because I know you and you’re my friend, I know you do a lot of creative and interesting pursuits, even when you’re dealing with anxiety and fear. Can you share about what you’re doing right now in response to some of those feelings?

The big project I’m working on right now is The Red Shades, a rock opera about trans superheroes. It comes from a deep part of me — a need for healing and for connection to histories of resistance. It’s set in the sixties and draws on histories of resistance in trans communities in New York and San Francisco. It shows the ways our ancestors resisted and pushed back against transphobia, homophobia, and misogyny in moments where that felt almost impossible. The odds were stacked against them, yet they managed not only to survive but to prevail and create social change that ripples out to the present day. I’m so inspired by getting to learn about those stories. It takes very little exaggeration to turns trans history into a superhero story.

Red Shades Black Revised.jpgThat sounds like an amazing project. How did you choose that format and what was your process for getting started?

It came about accidentally. I started unwittingly working on it when I had to commute a lot for a job I didn’t particularly like. I passed the time by writing songs and recording them on my phone. At some point they started to take on a narrative. I started to realize I was trying to tell a story and then I started to shape it.

At first I was trying to tell stories inspired by my experiences. What grew was a desire to project outward and to imagine different possibilities for rebellion and justice. The first act is a fictionalized connection to my own experiences, coming from a place of reckoning with my past. The second and third act are based on the history of resistance and communities that came together. That’s a dream for me — how I wish things could be and in some ways how they are since I’ve come out and claimed my identity. The Red Shades is a long process that’s still coming together. The seeds of it are looking at my personal story, connecting it to history, and then imagining a triumphant movement or triumphant building of power.

Thats a lot to encompass. Where are you in the process now?

I’ve written the first act and I’m working on the second. I’ve written 14 or 15 songs and am getting a band together. Instead of having a traditional reading like a play often has, we’re gonna have a concert so people can hear the music and give feedback. That’s the next step. I’m applying to a residency this summer to develop the project more and stage it out and see what happens. There’s a lot of pieces up in the air but it feels good that there’s a lot of excitement generated around it.

Could you share something you’ve learned about queer and trans histories of resistance that stands out to you as particularly important?

Miss Major Griffin Lacy is a person who is endlessly inspiring and incredible. She is a Black transwoman who participated in the Stonewall Riots, then was imprisoned essentially for being trans. She served time at Attica State Prison, where she was radicalized and was part of the Attica State uprising. Then she did activism during the AIDS era of the late 80’s and 90’s. Miss Major continues to be an activist and outspoken advocate for the community. I saw the documentary about her, Major!, that came out a year ago or so. I’ve had the pleasure of seeing her speak a couple times and once I got to perform stand up comedy in front of her at a queer open mic which was one of the greatest nights of my life, no exaggeration.

13988121_427618390741753_6503140762998036984_o
Adrienne & Miss Major

Was she laughing?

She was laughing, she liked it! I went up to her after the show and got a picture and thanked her for everything that she’s done. It was so incredible to get that connection to a living legend. I was drawn to learning about those histories even before I knew I was writing about them. To learn her story and then to meet her and see she’s a real person who’s lived the most incredible life, a life where just to have survived everything that she’s survived is extraordinary, let alone to be a leader and change what we think of as trans rights or trans liberation movement, would never have existed without her. I’m endlessly amazed by Miss Major.

It’s so wonderful you were able to meet someone who is not just a hero to you and so many in your community, and that it helped to inspire your work. Once the rock opera comes to fruition, what do you hope people get from it?

The primary audience is trans folks and queer folks, and queer and trans folks of color. What I hope that they get out of it is a sense of what is possible through the power of community. Not in a corny way but in the reality that change occurs because of people coming together and getting fed up and saying hell no, we aren’t gonna keep living like this. If you get enough people together, there’s so much that you can do. That story seems really important right now in a time where people are feeling really stuck and demoralized — to be reminded that there have been times in our history where people have felt stuck and demoralized and that’s when the most change has happened.

What do you think is the possibility of the power of community today?

There’s so much potential for people to come together and say, hell no, we’re not gonna live like this, and we can do better than this. Capitalism has been able to sustain itself partly because it controls people’s imaginations of what’s possible. People think this is the best we can do, so we might as well make do with what we have. But once you cut that cord and allow yourself to imagine what could be better than this… so many things could be better than this! You can start to talk to other people who feel that way and dream up new possibilities for every aspect of our existence. From the food we eat to the way we communicate to the way that we resolve conflict to the way that we create our environment. Every single aspect of our world can be changed and be made better. We’ve just gotta pick something and find other people who care about that. I believe that’s when the change can come.

What do you see as your role or work in helping be a part of that change?

I see myself doing a lot of the imagination work, to help people realize what change is possible. That’s one thing that art can do particularly well. I think I’m also humble in the sense that there’s so many things that I want to change and so many things I want to be involved with, but I’m still learning and growing and figuring out the best ways for me to plug in. I keep thinking about this activist group of queer artists in the 90’s called Gran FuryTheir motto was “art is not enough.” I want to balance the importance of the imagination work and artwork with recognizing I have to push in other ways for justice. I’m figuring out what those ways are.

What in your life supports the work that you’re doing and where does it feel like your needs aren’t getting met in terms of support?

Thinking about the rock opera in particular, there’s a lot of people who want to help out and want to see it come to fruition. Part of the growing pains for me is learning how to coordinate and harness people’s’ energy in a way that’s productive. I’m really grateful that people care about the work I’m doing. But I want to make sure that I’m getting help organizing things in a way that allow the process to be truly collaborative and not just plugging people in in a way that just replicates capitalism.

21687433_614856168684640_2274018330630126536_nWhat about on a personal level? You mentioned being in a space of some fear and anxiety. How does that play into what you are or aren’t able to take on in a given moment?

I am always in a constant state of flux. In my emotional world, I have moments of high energy, excitement, creativity, and production, followed by periods of static, withdrawal, stepping back, and taking care of myself. It’s a constant balancing act. It’s why I’m drawn to doing as much work as possible on my own so that I can allow myself to go through those natural rhythms rather than having someone hovering over me expecting me to produce a certain amount and follow a timetable that doesn’t make sense for me.

One of the biggest things for me right now is learning to be gentle with myself — take breaks when I need to, focus on healing when I need to. Make decisions based on what’s best for me rather than on some sense of obligation. That’s what I try to do as much as possible. My friends are important to me. Being surrounded by queer and trans community is important to me which is why I live in Oakland. I have therapy which is supportive. Meditation and spirituality can be supportive.

What does spirituality look like for you?

Spirituality is something that weaves through my life in a way that is not really possible to separate it out from anything I do. Mindfulness and meditation have been important ways of trying to connect with the present moment and connect with what’s going on personally with me. Spiritual community can be valuable. I have been a part of the East Bay Meditation Center since I moved to Oakland a couple of years ago. I’m also involved in Jewish community with the Kehillah synagogue. I’m still trying to put together the pieces of my whole belief system but mostly it revolves around how I make sense of the world and how I survive day to day — the spiritual forces I can call upon to help me.

Since you see yourself as part of the imagination of building a better world, I’d love to hear a picture of what you imagine for the world you want to live in.

One of the things that breaks my heart most about capitalism and neoliberalism is our alienation and estrangement from one another. It makes me sad moving through the world feeling like I’m surrounded by people I have no connection to. I want to live in a world where I care and know about the people I live with and around, and that we have relationships where we can support each other and work together to build community. I would like for us to live in harmony with the natural environment and see ourselves as a part of it rather than as a distinct outlier that rules over everything. I imagine a world full of joy and laughter and fun, the pleasure of being present and being together, where people can truly heal from oppression. I want the elimination of social class hierarchies, just seeing that we’re all just people. It’s corny but there’s no need for hierarchies when we care about the people around us. It’s heartbreaking the way our world creates false divisions and pits us against each other.

In this dreamy world where we’ve ended oppression and we are connected, what do you imagine could be your role in community?

I would want to be doing a lot of the same things I’m doing now in terms of using art as a form of healing. I imagine there’ll be a lot of different work to be done. I’m open to learning about how I can best fulfill the needs of the community.

What are the other forms of art you do?

I am a stand up comic, I play music, I have just started puppetry. I’ve written screenplays and have worked on films before — a lot of theater, storytelling, and work in the music genre.

Why do you think storytelling and these different forms of art are important?

Because people tell me that they are. I’ve definitely done plenty of projects that didn’t move people, so I tried to move away from those kinds of works. Different art works in different ways. Comedy is a funny slippery creature. It can be healing for people to let themselves revel in the absurdity of the world we live in and find the frictions and false realities that we all inhabit. What I do with comedy make a mockery of what seems to be solid, objective truth, but which is really just a bunch of bullshit.

Do you have any favorite jokes you’re telling recently?

When I moved to the Bay Area I discovered this phenomenon of white women apologizing for doing yoga. It’s usually cis white women who feel conflicted about being appropriative by doing yoga or doing something very bourgeois, but feeling a need to integrate it into their self care. Part of comedy is getting people to chill out about things which seem very weighted and intense but really are kind of ridiculous. To not take anything so seriously, both the big scary things, and oneself.

What art inspires you? What are you into these days in that realm?

There’s this amazing thing through SF Moma where you can text a word or a phrase and they’ll text you back an image from their collection that captures what you’re talking about. One day I texted ‘queer rage’ to that number and they texted back work by Jerome Caja, an early 90’s queercore performance and visual artist, a fuckin’ badass who dealt a lot with the hypocrisy of religion and how their Catholic upbringing had been oppressive and absurd. It was exciting to learn more about that artist.

As I’m researching more about rock operas I’ve come across some exciting gems. There’s a concept album considered a rock opera called “SF Sorrow” by The Pretty Things, which predated and helped pave the way for Tommy. There’s a hip hop opera concept album called “Tricks of the Shade” by the band the Goats, which is brilliant, politically insightful and super sharp. Those have both been sources of inspiration even though they are lesser known works that didn’t get their due.

I’m always trying to keep my eyes open to local shows and theater. I recently saw a series of short plays at Z Space Theater. One of them took place in the bathroom of the theater; we were all in there together. It was about a gay meeting in a Russian public toilet and interweaved the histories of homophobic state oppression in Russia. It made me realize how much can be done in small confined spaces with few resources. I just happened to be there the one day it was performed. There’s little exciting things happening all over the place.

Are there other things in having this conversation you feel like sharing?

I am at such a fluid stage in my life. I’m still exploring and so whatever we have talked about today may be completely different from the way I feel in a week from now. Not completely but I might have different priorities or things I care about. I guess that’s part of being human.

20861579_152596045319265_8634463466783455990_o

Adrienne invites you to attend the first musical showcase for The Red Shades, her trans superhero rock opera on December 6th at El Rio in San Francisco. This interview is part of a series for The World We Want to Live in

Jonah on craftsmanship, plants as allies, and the power of candles to hold space

Screen Shot 2017-11-19 at 5.02.57 PM

How you identify yourself in the world?

I identify as a queer, non-binary femme, anti-Zionist Jew, disabled, chronically ill, rural person. I identify as a white anti-racist person, struggling against white supremacy and working for decolonization. I identify as a healer and a magical intuitive person. I am a herbalist, a medicinal plant grower, a ritual candlemaker, a beekeeper, a witch, and a radical anti-capitalist small business owner.

How are you doing in the day to day?

I’m doing pretty well right now. After a long period of being really impacted by my geographical and social isolation, I’m in a moment where I’m dropping into being with myself and where I am, and actually feeling that I’m not alone, even though there are not people here besides me most of the time.

Is there anything material that happened from which you can trace that shift?

One of the things I’ve been working towards since I’ve been here is feeling into the deep and wide web of connectivity and community I live inside of. There are so many amazing plants and animals here. I’m here with the land, with the weather and the wind, with the stars and the sky, and with the water. I’m broadening how I experience community in a daily way through my own presence, my own ritual, rhythms, attention, acknowledgement, and magic.

I have been able to shift out of being so focused on what is wrong with me and what is missing in my life here and just be. This past year, I’ve been able to reign in my projects a bit to focus on what I most long for and what meets my needs. Getting clearer about my physical, emotional, and spiritual capacity and my material, emotional, and spiritual needs has freed up all kinds of energy that has allowed me to be more in my power and have more to offer my relationships and my communities. I long for transformative love and partnership in my life and collaborative creative partnerships in business and magic. I’m now able to be really clear about those longings and extend toward them, instead of being sad or defeated that I don’t have them all yet.

Can I ask you to take a step back and describe what ‘here’ is?

I live on a 52-acre agricultural property south of Cloverdale, which is Makahmo Southern Pomo territory, in the northern tip of Sonoma County, California. My home space is a rented single wide mobile home and a 12×20 redwood shed space I did a pretty major renovation on to create the home of my candle-making business, Narrow Bridge Candles, and of my herbal business, Plants as Allies. I tend about half an acre and have a greenhouse and 40-50 different medicinal plants growing on a range of scales.

Bringing up Narrow Bridge Candles and Plants as Allies feels like a great segue to the main question I want to ask you which is, what do you see as your role and work in this political moment?

I’ve been putting my body, my heart, and my spirit in a place where I can be in deeper contact with my power and offerings in a way I’ve not been able to do in a city space. Wild and rural spaces are frequently unsafe or inaccessible in a variety of ways to queer and trans people, people of color, and people with disabilities. I’ve been working to create and tend wild and rural space here that is safer and more accessible for people at the intersections of all of these identities. I’ve poured my heart, soul, energy, and money into building something that is welcoming, beautiful, soothing, safe, and as accessible as possible, which has been supportive to my life and a lot of people.

When I first lived in the Bay Area, I remember people commonly describing it as a radical, queer, or movement “bubble.” I had that reframed for me — rather than it being a bubble, it is a stronghold, where people are holding down a depth of radical politics and a high level of organization and history around movement work. When I first moved out here, I thought of my home as an escape from the city for me and the folks visiting me. I now understand this as a place for me to grow and deepen into my power and my offerings, and a place for other folks, many of whom are doing important work and living in difficult conditions, to have a little bit of space and be in a place where they can have a bodily experience outside of the pressure cooker that cities and movement spaces can be.

A reminder that rest is not just a break or an escape from the important stuff, but is important in and of itself. So I guess I feel my home is a tiny stronghold — a place where beauty and femme-ness and rest and access are deeply valued, practiced and held up.

What happens in this space? What’s happening right now?

Right now I am braiding Havdallah candles. Havdallah is a Jewish ritual, the transition between Shabbat and the rest of the week. Shabbat, the Jewish day of rest, begins Friday night at sundown and ends Saturday night at sundown. In Havdallah observance, this candle gets lit on Saturday night at sundown. I’ve dipped these long thin pieces of wick in beeswax and now they are ready for plaiting into large candles.

Can you tell me more broadly what happens here?

I’m passionate about growing medicinal plants and about having a healing, non-exploitative, decolonial relationship with land. I still feel like I’m just beginning to learn how to do all of those things. I studied herbal medicine with Karyn Sanders and Sarah Holmes at the Blue Otter School of Herbal Medicine up in Siskiyou County. The focus of my study has been on the spiritual and energetic properties of plants — understanding plants as not just passive things to be consumed, but as things with their own spirit, energy, even voice and personality.

I care deeply about making medicine in a way that respects wild medicinal plant communities which are an important part of our environment and our ecosystems, in and of themselves. A lot of foraging and wildcrafting culture orients to things growing and producing something useful to humans — as if it’s just there for the taking and “going to waste” unless humans pick and consume it.  They actually have value in and of themselves.  Medicinal plants live in communities in delicate and dynamic relationships with birds and insects, water, weather, soil, spirit and energetics of a space. These communities are threatened by pollution, urban and suburban sprawl, development in general, climate chaos, and to a smaller degree, irresponsible herbal harvesting practices. A lot of wildcrafting is more oriented towards taking and selling than to the sustainability of plant communities.

I do very little “wildcrafting” — partly because I am a settler on this land and if I don’t have relationships with the indigenous peoples of the land, I don’t feel I have permission to harvest. And if I am not deeply familiar with that place and that ecosystem over a many years period of time, I can’t really see the impact of my harvesting or asses if the ecosystem can support my taking. I’m more interested in caring for wild plant communities and growing what I can. And trading medicine with other folks who are growing things I can’t grow!

jonah wateringWas there anything in your life or experience that led you to be on this path with plants?

I have a picture of myself as a small child watering little rows of vegetables. My mom is a big gardener — she loves flowers. I grew up with a lot of really powerful plants in the garden. I knew their names, and loved and appreciated them, and picked them and brought them to my friends and teachers, but didn’t necessarily orient to them as medicinal or as holding me in any way. And I think they were really holding me. It took me a long time to be aware of that.

What about candle making?

In my life here, I’m occasionally struck with the thought, wait, I’m a… candlemaker? Is that an actual job people have in 2017? If I think about the things that satisfy me, give me pleasure, and soothe my nervous system, they are mostly sensory. Touching everything, smelling and tasting, taking in the sight of things that are vibrantly beautiful. And also tiny, satisfying tasks that I can do perfectly, like putting stickers and labels on things and pouring liquid from one vessel to another. This list is pretty much my job description.

IMG_1939My work as a ritual candlemaker means living in deep relationship with the element of fire, honoring its contained expression in balance and right relationship, and sharing that magic, awe, and honor with my communities in material form. Candles have this incredible capacity to hold space. I think my role is holding space too. I originally started making ritual candles as a way to be more actively engaged with the ritual items I was using in my life. I wasn’t satisfied to buy ritual items and not know more about where they came from. In 2010 I created Narrow Bridge Candles which is a Jewish ritual candlemaking project in support of the full 2005 call from Palestinian Civil Society for Boycott, Divestment, and Sanctions (BDS) of Israel. Narrow Bridge Candles is a political and a spiritual project. It plays a role in extricating Jewish ritual, cultural, spiritual and religious practices from Zionism and provides ritual candles that are not made in Israel, allowing people who want to buy Jewish ritual candles to honor the boycott. Narrow Bridge Candles is able to donate more money to BDS organizations and domestic racial justice and decolonization struggles every year.

Are there challenges to stay connected to the deeper political and spiritual meanings of your work when it is your job and livelihood?

Yes. I attended the National Member Meeting of Jewish Voice for Peace as a vendor this year. I talked with almost 100 people who thanked me for my candles and told me that they loved them. Some of them cried and told me how meaningful my work has been for them in making space for them to re-connect with Jewish spiritual practice in a way that’s politically resonant with their convictions, principles, and beliefs.

It was a big deal to meet the people who buy the candles from me. It was markedly different than what my daily life sometimes feels like — that I’m just sort of plodding along making all the candles and sending them out to people and people send me money. I know theoretically what I’m making is valued beyond money, and that there are people all over the world who are using the candles to mark their sacred days, transitions, and life events, to hold space in political, cultural, and spiritual ritual space. And I’m not there. Especially when I’m tired and working really hard and not feeling connected to all of the life around me, it’s hard for me to remember that’s happening.

IMG_0123 (1)We are living in late stage capitalism. I, and I dare say so many of us, have deeply internalized capitalism in all kind of ways that I am working to heal from as a witch, as a disabled person, as a craftsperson, and as a radical. Running a small business doesn’t mean I’m a capitalist, but it does mean I’m holding some serious tensions. Sometimes I feel like I am a machine producing a product in exchange for money and I feel alienated from my own labor, my own hands, my own body. More and more I am aware of how deeply skilled my work is, and I’m learning how to value myself as a craftsperson. I can feel inside of myself, in my lineage, and my embodiment, a time and a place in which craftspeople and their creations were deeply valued. In which something made by someone’s skilled hands was a treasure. I’m learning how to live in this magical space, to know this is true and make this true with my own disabled femme genius craftsperson magic.

I’m gonna get dreamy as fuck for a minute and ask you to do the same. Tell me what you think your work and role would be in the world you want to live in.

It’s an important thing to be visioning. The framework I have is a village or small community in which there are people who grow food, people who grow medicine, people who make the things that people need and use. I’d be excited to be a community herbalist and candlemaker and have a place to live and work and people to share meals with and to play an active role in supporting the health of a community living in balance and right relationship with the earth, and with other communities of people, plants, and animals.

Given that we’re living in the time and place and world we’re living in, I know we’ve got a ways to go. I’d love to hear about the things or people that inspire you, and what you do for self care.

The plants and animals I share this space with are a big part of what inspires me. Central to the Blue Otter teachings is that a deep understanding of my own energetics is required for me to learn from and connect with the energetic and spiritual properties of plants, and to connect deeply with clients in a clinical herbalist capacity. How deeply I am willing to go in my own self work with my own healing, self knowledge, and transformation is the limiting factor on how deep I’m able to go with clients. I haven’t been able to be connected with my own energetics, vitality, or pacing in a city space. A big part of my being here has been about learning — not just getting out of the city to escape the city, but choosing intentionally to be in a space with low electromagnetic fields, low pollution and toxicity, and low social stimulation. Living where and in the way that I do has allowed me to learn how to regulate my own nervous system, how to live inside of my own rhythms and pacing, and feel my own power and what I want to give this beautiful planet.

Boy Boy portrait
a portrait of Boy Boy

Taking care of myself right now means getting enough sleep and rest, and being in a solid routine, eating meals that have vegetable and protein, and water in my body and my body  in water frequently. I take herbs, I do plant meditations, and I have some somatic bodywork and therapy that helps me continue to learn about my own energetic and emotional patterns. Being with my kitty is a big part of my self care. He has totally saved me, I couldn’t be here without other people, without him. Being around Boy Boy, who seems to have such an incredible capacity for love and connection, has also been so opening and instructive. I’ve never had this kind of relationship with an non-human companion. I love him so, so much.

Something I’m thinking about right now is just that energy is real. Energetics are hugely formative in everyone’s life and in the cultures we live inside of. There’s a lot happening under the surface that influences what is possible, what is happening, what is tolerated. For a lot of people, under the surface is unseen and therefore it doesn’t exist. Everyone is impacted by energetics, and some of us can feel and attune to it, and for me a big part of radical transformative magic is making those “hidden” currents visible and felt.

There’s a lot of need for magic around shifting conditions. It’s not about denying the material; I’m not saying magical thinking or a positive attitude will be enough to overcome tyranny and fascism and oppression. We have to be in real, honest connection with the material conditions we’re inside, fighting and protecting those of us who are most vulnerable to the violence and oppression of our time, and be deeply transforming all of those relationships in trying to make the world that we want in material, magical, and energetic realms. This dreamy liberated world after the revolution is not some future destination. It is a path that we make with our work, our magic, our relationships, our hearts, and our spirits, and our bodies. How we move and be inside of that path is essential. That’s what I’m learning to embody and extend toward these days.

Place your 2017/5778 Hanukkah Order through November while supplies last! Narrow Bridge Candles are available on a sliding scale and they are worth it. Learn more about Jonah’s herbalism work at Plants as Allies. You can also find Jonah on instagram. This interview is part of a series for The World We Want to Live in.

281124_479570938731638_1295488422_o

Iman on de-coupling work from worth & science as the safest place for 21st century witches

aaron wojack
photo by Aaron Wojack

How do you identify yourself in the world?

I identify as a queer Black woman. I’m a student and an activist. I’m a witch. I’ve recently begun to also claim my identity as an artist.  I’m doing a phD at UC Berkeley, which takes up a fair amount of my time and emotional space.

How are you doing?

I’m in a period of transition. I’m trying to decouple my work from my worth. My job will be ending soon. Now would be the time to start applying for careers because I’m going to have this pretty bomb ass degree. I just don’t wanna work! It’s both anti-capitalism and just plain exhaustion that make me feel this way. Since I was five years old I have been waking up every weekday to report to an institution. I don’t want to show up for these powerful white men anymore, or to allow them to profit off my body and my mind. I’m considering being unemployed for up to a year to figure out what I truly want to do, but that’s obviously risky. I have so many blessings I’m grateful for, but I’m also like… what happens next?

Could you share more about decoupling your work from your worth? How has that been for you logistically and emotionally, and where are you at in that process?

This summer was my Art Summer. Since I’m plan to finish my degree in December, I probably should have been applying for jobs. Most people in my position and field have applied to 50 or 60 positions by now. I applied to three and then I felt done. Considering I have such a strong work ethic, I had to ask myself why I was not trying? Like, “I’m just not giving a fuck, why is that?” A lot of it has to do with the psychic exhaustion of being associated with the university. UC Berkeley is a toxic and violent space right now, with all the white supremacist rallies and neo-nazis on campus. Part of me needs to take space away from Cal — and science — to figure out where my time, energy, love, and labor is best spent.

For years I’ve experience anti-Black racism at the university in subtle ways — the low demographic representation of Black students and faculty and a myriad of micro-aggressions. Now this sentiment has manifested in physical violence. I’m not surprised it’s happening because we’ve had all this shit just underneath the surface, Trump and Milo just made us really have to look at it. So the idea of applying for a job to be a professor at a university — I’m like, fuck that, why would I wanna stay in this war zone forever? That’s a hard realization after spending 12 years trying to attain this degree. Now that I’m finally close to having my dissertation completed I realize I don’t really want it. But I’m not going to quit because I’m too deep into it.

What is the degree or field you’re in?

I’m doing a phD in microbiology. 

It seems intense to be intimately familiar with these systems and working under white-male-dominated institutions for so long. I can imagine why you’d want to be bursting out of that.

I’m skilled and qualified so I’m good at these jobs but I’m not invested in them. At some point it’s like, who am I doing this for? I want to take time to find out what I want to do for myself and my community. That’s the decoupling I mentioned earlier. I feel like I can do this best through travel, but that’s also escapism. I wanted to move to Paris, but then Trump got elected and I felt I had to stay here and fight.

Where are you at with the question of figuring out what you want to do for yourself and for the world?

I’m pretty sure about how I want to contribute; I don’t know how to pay my bills while doing that. I know I want to be employed by the resistance, but who funds an insurgent revolution?

17264879_10154222680016035_6969942839344591044_nMy main focus is environmental justice. I study microbial ecology and work in public housing. I compare microbes and toxic mold in market rate housing and federally subsidized housing. My data shows what people have been saying for decades —if you’re black, brown, low-income, or an immigrant, you’re gonna be exposed to more toxic molds. That’s a basic environmental justice issue but now we have the data to prove it. That’s the work I want to do for the rest of my life. How do we protect marginalized communities from environmental pollutants, from climate change, from oppression and exploitation of resources? How can we use science to protect our communities, keep us safe and healthy, and use law to hold polluters accountable?

I have a dream of starting a Queer Radical Science Institute (qRSI). I spent my most memorable summers at biological stations, which are basically summer camps for adults. There are these forested plots you can go to to conduct long term ecological research. They are so fun and nerdy, and I acknowledge I’ve been blessed at spaces like those where I’ve met other enthusiastic natural historians, but when I look back I realize they are implicitly white spaces. This is largely due of the push-out of People of Color from the community of science. People with any sort of spiritual practice are shunned in these spaces. It selects for a very particular kind of ideology and identity. And It’s a goddamn shame.

I want to create more space, and find new ways to do and teach science through a framework of de-colonizing STEM (Science, Technology, Engineering and Mathematics). In this new paradigm, what are the questions that we ask, what are the methods that we use? Western modern science operates under a framework of white supremacy and capitalism, which means it is merely a tool of those pre-existent powerful and oppressive structures. At qRSI I want to explore what it would mean to uplift traditional ecological knowledge and indigenous views of the world rather than just the scientific method? If we do that, what are our final products? When do we know when the experiment is done? I want to move away from thinking about publishing papers as the final product. How about a campaign or artwork as the final product? What does it mean to do science that doesn’t end up in these elitist universities or journals? What does it mean to democratize the knowledge? These are all questions and beautiful dreams I don’t yet know how to manifest.

It’s cool to hear you bring up spirituality and art in reference to science because the white mainstream view places them in opposition to one another. You also mentioned coming into your artistry and identifying as an artist and a witch. What do those things look like in your life right now?

brooke anderson
photo by Brooke Anderson

I always say one of the safest places for a 21st century witch is in science because you get to make magic in the laboratory. In the lab you can tinker; you can make things explode, you can transform, and deconstruct. Science is an incredible way to come to know and love The Mother:Nature. But due to patriarchy and misogyny, of course, witches had to go underground for safety. The history of witchcraft is based in resistance. I’ve been fascinated by witchy spaces since I was a kid. When I was maybe 13 I went into a store looking for a book and the shopkeeper called me a green witch. I didn’t know what that meant but now it all makes sense. The way I interact with the earth and nature is witchcraft. It’s voodoo. It’s root work. It’s also called ‘ecology’.

I started to experience activist burnout doing work in the Black Lives Matter movement around 2014. So often I was antagonized by police and felt hopeless. The system is fully inundated with injustice. What is the point of putting one more Black body on the line? It was getting so heavy emotionally. Then one life-changing night, I picked up a textbook from my Alma Mater, Howard University, called Black Magic. The book contains the history of root work and magic in Black America, starting with how slaves conjured against their enslavers. I thought that was so dope that our witchcraft comes from slave rebellion.

I think it’s common for Black folx to have fantasies of being slaves who would run away on the underground railroad, bravely heading North to freedom. But the reality is maybe you might have been a slave who couldn’t run. So what do you do? You hear about some stories of kitchen/Big House slave women who poisoned their masters. Someone’s gonna figure that out and your ass would be whipped or killed. But there other ways to subvert, and conjure and hexing was a part of that tradition.I started to dig into root work and curses against white supremacy to re-activate and reclaim this knowledge in my own activism. It was empowering at the beginning, but over time I started to feel like I was putting too much negative energy into the universe and needed to find a way to balance this with more positive vibes. All the curses we make come back times three, even though I’m responding to a curse that’s been put on me by subjugation. I started thinking about community healing work and how to sustain people in the movement. What kind of herbs can we use as adaptogens? How can we think about ways to heal our communities rather than just hex others? That’s where I feel more comfortable and where I’m at today. I don’t want to put negative out. I want to cultivate positive. I talk a lot about this on the radio show I co-host with a local DJ, Namaste Shawty and MC Queens D. Light on lowergrandradio.com.

Plants help me to find beauty in this fucked up system. They’ve taken a beating from capitalism with deforestation and exploitation of natural resources. Nonetheless the plants are resilient. I started looking at sage and lavender in urban city settings. How can these incredibly medicinal healing plants survive in Oakland and San Francisco? If they can do it, I can do it. These are my allies. Covered in soot but still so lovely. I take a lesson from them.

Is this research you’re doing on your own or in relationship to your school work?

It is in no way related to my school! If I told people at my school they would think I was crazy. I collect medicinal plants on campus sometimes and people always give me the side eye. What I’ve shared with you are lessons and inspiration that sustain me. Now I’m doing [an activist group called] Queer Magic for the Resistance, touching base with other down witches and brujas and showing up for community with healing herbs.

I don’t think I was so cognizant of my body before I started getting into witchcraft. I realized my body is mortal and I’m interacting with forces that intend to take apart my body. The police would gladly kill me, and these racist institutions intend to annihilate me. My material body became more of a focus than my brain, the main thing driving my career up until this point. A lot of work I do with herbs is about healing the body — making bath salts or body butter or teas to soothe the material tissue. Exploring my queer identity has been interesting too, looking at my body and asking what do I like about it? What am I not comfortable with? How does that relate to patriarchy and heteronormativity? That’s all part of the magic!

You’re doing a lot of different kinds of art right now right?

noncommittalMusic, visual art, the Las Brujas Radio podcast, and a videogame. That has been an exploration in play and anti-capitalist views of time. If you’re not working and you’re not making money, then is your time valuable? Capitalism thwarts your creativity because you make it about dollars rather than creation. I have decided that I’m gonna make this collage just because I want to make this collage! I’m not gonna market or sell it. I’m gonna make it because it feels good and I’m entitled to my time and to pleasure. If I want to create, I can. I’m trying to not feel guilty about things I ‘should’ be doing instead.

So first I started playing with collage than I started playing with sound. Now I’m playing with audio collage. I dropped my debut album ‘Noncommital’ on bandcamp at the end of Virgo Season. I started playing in a band. I’m just reclaiming my time. I realized that the days belong to me — not the institution, and definitely not the market.

It’s hard though because like you said earlier, you know what you want to do for yourself and in the world but you don’t know how to pay the rent at the same time. Ideally we’re all trying to reclaim our time, but we also experience barriers to that.

Reclaiming my time is not without recourse. My advisor is my boss, and he’s threatened to stop paying me. I got to a point where I was like, if you’re gonna kick me out, then just go on and kick me out, but until then, this is what I’m gonna do. I’m six years into my PhD now and I’m kinda losing steam for science, but also I’m just interested in lots of other things  and I don’t think there’s anything wrong with that. Sometimes when I’m kicking ass in other projects I’m able to plug back into science and have an awesome productive day. But it’s gonna be a day, it’s not gonna be my week. 

Right, it’s not taking over your life so much.

I gotta find space for me. The institutions erase your individuality. They make you a worker. I came here to be a thinker and to tinker, and to learn about fungi.

Outside of a capitalist framework, can you imagine what would you be doing for yourself and for your community?

By virtue of being human I believe everyone is entitled to food, housing, water, education, healthcare, and a suitable form of labor that makes life sweet. In my dream of the world everyone would have that. There’s a cool way to decouple labor from basic needs being met. Instead of working so much just to have a roof to put over your head and keep the lights on, what if we decided everyone’s entitled to these things just because you need them — what would you do with your time? The world would be so much more beautiful. People would create. People would care. Some people call it universal basic income, some call it socialism or anarchism, I’m also comfortable calling it welfare. There’s so much waste in capitalism. Anyone who qualifies should fucking get their food stamps. This system is providing so much junk we don’t need that’s having this awful environmental impact. Get your shit from the government. The government should care for you simply because you exist. I dream that.

In terms of my economic political standings, I want a big government that cares for all the people. I hate the laissez-faire market. I don’t want free market capitalism to drive any of our policies. I liked the idea of the share economy that tech is creating, minus the tech influence and the fact that the bottom-line is profit. But they’re onto something really — we don’t all need to have a car, you know? We don’t all need to own the land, but we can all utilize it. I love the idea of not exchanging money for services ever again.

What would you do and how would you contribute in this world?

I’d be working in outdoor education, still hanging out with plants and looking at fungi. Biodiversity is so beautiful and I love natural history. I’d probably be a storyteller. I’d tell people about what we’re seeing in our environment and how to engage with it and what other people do with these things. I’d wanna tell the stories of the forest and cultivate spaces where those stories could be told. The ways to tell that story would be numerous. You can paint it, you can sing it, you can have the bonfire, you can lead a mushroom hunt through the pristine woods, or abandoned urban lots.

What do you think is important about telling those stories?

They’re fascinating. It helps you to find your place if you know that the world is much bigger than you. I’m finding it humbling to realize how complex all of these interactions between soil, microbes, climate, weather, water, micronutrients, plants, and animals are. You could spend the rest of your life trying to figure out how this little ecosystem works. I’m just one little player in this beautiful construction. I love that. It means some of these decisions I make and stress over aren’t a big deal in the grand scheme of things.

I also think it’s important to just worship the land that you’re on and acknowledge the space you occupy as sacred. We’d engage a lot differently if we put ourselves in the context of the place and the space and hold ourselves and that space as not distinct from one another, and to acknowledge land as profound and beautiful.

It’s cool to hear you talk about your relationship to nature and science as being humbling. I feel like a lot of what has turned me off from mainstream science is the doctrine, the knowing, the framework that research happens for the purpose of ownership and dominance. It’s cool to hear how you are engaged in science and nature from a totally different perspective and seeking to unravel more mystery and wonder.

Yeah. There were anthropologists in the twenties who explored this demarcation between science, religion, and magic. It was in this ideation that “primitive” cultures have magic and religion basically because they are ignorant, and “civilized” cultures have science, because they understand and dominate their environments. Academics were suggesting that cultures who don’t have an understanding of their environment just ‘leave it up to the elements’ and pray to their gods because they don’t understand, and once you gain some knowledge of the earth you move towards magic so you can manipulate it, and then once you truly know it and demonstrate mastery then a cultures has science. This is obviously whack, because all of these things exist simultaneously and one person or entire cultures can go these different modes of wonder, ignorance, and knowledge every cycle, and/or every single day.

It’s a lot queerer.

Exactly. I want to get to a point where magic is viewed on the same plane as science, and privileged without having to be called “pseudo-science”.

Magic and science aren’t in opposition to each other. I recently learned that avocados change their sex multiple times a day.

So the flowers change or drop? That’s really interesting. That’s a lot of development and the genetics must be really intense and what kind environmental cues trigger those changes… How can we not be humbled and get off this dichotomy, you know? You are either male or female — no, there’s so many options, really. I love the idea of perfect flowers, which in botany is a term used to describe hermaphroditic flowers.

Maybe future check boxes on forms could have us choose between avocados and perfect flowers. It’s wonderful to hear about all the work you’re exploring. What do you need to support you in these processes and helping to create this world?

Instinctively I would say money but I want to move away from that. Part of me feels like a land trust is the move. What would it mean to have a spot where we do this Queer Radical Science Institute and just start by occupying? We just get there and start cultivating the world we want to see. We’ve seen that happen when you think about community gardens in Los Angeles or Detroit. People just took up hoes in urban space and developers come claim it once it’s poppin’.

I’m still figuring my shit out. It’d be cool if people were down to dream with me and offer their time and energy. All I really need is love and community. Money sucks. Capitalism is the reason my family, my ancestors were enslaved. I don’t want that to be what determines whether or not I’m a valuable contribution to society. Fuck the money. Share the love.

Is your goal to transform the institutions, to tear them down, or work completely outside of them?

I have been battling this question for so long. My second and third year at Cal, the only Black woman faculty member in my entire college, Carolyn Finney, was denied tenure. At the time there were only two Black professors, so all of the women of color flock to this one faculty member for mentorship. Because she was overloaded with doing community care work, she wasn’t able to produce as much academic stuff, which is the only thing the university really values. I started wondering, if we get her tenure, if more of us stay, can we shift it? Can we fix it from the inside? Maybe that is possible, but I’m not gonna be the one to do it, because that is not the timescale I wanna work on. Now bricks go through our windows and buildings get set on fire because people are so frustrated with the institution and want to tear it down. I think this absolutely needs to happen, but I don’t want to be the one to do that either. I want to work wholly outside of it. I don’t want to destroy it, I don’t want to sit around inside of it and wait for it to change, I want to do my own thing elsewhere. If folks wanna get down, come holler at me. But I’m not engaging in this shit anymore. I once heard a wise youth say, “everyone is invited to the revolution, but not everyone will come.”

You mentioned love and community as two things that can support you in doing that. Can you tell me what it looks like to show up for each other in community?

Sometimes it’s the simplest things. Sometimes after going to a protest, having a friend who’s cooked you a meal and made you tea and is there to give you a hug is huge. Having a friend go with you to the protest is also amazing. I get a lot of tarot readings from my friends and spend a lot of time in beer gardens debriefing and processing. I spend a lot of time in nature, in the rivers and forests. I go mushroom hunting every weekend. Take a hike and get away. Sometimes you don’t have to go very far. I spend a lot of time in the Piedmont Cemetery. That’s in Oakland, but I’m getting away from the exchange of money and capitalism. I sit with the realities that time is limited. Your life is precious. You only have a couple of years to do whatever it is you’re doing. And then once you’re done with that you’re gonna give all your atoms back to the universe.

Is this conversation bringing up any other thoughts you have about creating the world you want to live in?

We as activists struggle to feel like we’re doing enough. The issues are so vast and so big. It can be disheartening. I’ve seen many people turn away from the movement because sometimes you feel like you’re never gonna win. I’ve grappled with that, but then I think about all the major victories we’ve accomplished in the last couple years. Something I’m proud of is that we got the University of California to divest in for-profit prisons. That’s a big deal. But it’s so easily overshadowed when the same university that divested is giving a “Free Speech Week” platform to white supremacists. You can get so inundated in the everyday struggle, forget how powerful you really are, and question if you’re doing enough. I used to feel like if i don’t go how can I expect anyone else to? This year I’ve gotten better about trusting that if I don’t show up, someone else will. Since the inauguration I think people are getting it. This shit is urgent.

There’s a certain level of privilege that comes from being associated with the university. I’ve been arrested and had my Cal ID on top of my state ID and the cops let me walk away. There are some things I can do other working class folks cannot. I don’t really have to show up at school tomorrow at 8am, I can go to jail tonight. I don’t want to go to jail, but it’s better me — the single student — to go to jail than somebody else who has to feed a child. If I get a job, which is what I’m trying to avoid for the rest of my life, I won’t have this particular freedom. So while I do, it’s critical for me to utilize it. I don’t feel like there’s a whole lot of privileges I have besides maybe my citizenship, my education, and being cisgendered. The few that I have, I’m gonna fucking work ‘em and put them to use.

The revolution will be pleasurable! I have been so blessed by the people in my life, especially the activist community. I have started using the phrase ‘Lover-Homie-Comrade’ just to acknowledge the ways people flow through relationships. Some can be romantic, some can be platonic, sometimes I’ll throw down with you in a protest, maybe we’ll spend the night together in jail. It’s hard work, but these are labors of love. We’re out here waging love y’all.

12795102_10153247656481213_2609463179327213415_o.jpg

You can find Iman’s work all over! Listen to Iman’s album, band, and Las Brujas Radio. Check out Iman’s visual art and support the conceptual demo of her video game. This interview is part of a series for The World We Want to Live in