Kiran on nutrition as healthcare, interdependence, and valuing one’s own labor

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[Image: Kiran stands with her hands in her pockets on the sidewalk in Philadelphia at night. Photo by Maren Abromowitz.]
What’s your name and how do you identify yourself in the world?

My name is kiran marie nigam. I identify as brown, mixed race, multicultural, queer, and disabled with an invisible disability. I have hypermobility Ehlers-Danlos Syndrome (EDS). I also identify as a facilitator, teacher, healthcare worker, and an auntie to a lot of kids.

How are you doing?

I’m coming out of a period of a lot of transition and doing remarkably well. Instead of feeling stressful it’s felt liberating, which tells me the transitions are right. In the last six months, I quit my job of eight years at AORTA, the co-op I founded with five other people. I moved across the country back home to the bay. In doing so I’m also transitioning my relationship because of the realities of living across the country. I’m in a moment of initiation and possibility — so many projects and ideas. It feels like spring in my life.

Tell me about the projects and direction that are energizing you.

I’m starting up a new business to meld a lot of the things I have done for a while. I’m doing facilitation work, which I have been doing for almost 20 years now. I’m doing one-on-one nutritional consulting and functional nutrition work. As part of my nutrition work, I’m opening up a series of nutrition education workshops which are more financially accessible than one-on-one counseling. It’s easier to make dietary and lifestyle shifts in your life if you’re with other people who are doing them, even if theirs are different. I’m also offering support for people with Ehlers-Danlos Syndrome, which I’ve been doing forever, but am now doing formally and with a nutrition lens. I’m helping people identify what net of care providers they need in their world, getting missing pieces filled in, and assisting with lifestyle and emotional support pieces.

I’ve got a million creative visions I’m trying to spend more time on, like my artwork. I’m part-way through writing three books. I’m writing and illustrating a children’s book on natural home-birth with my friend Michelle. I wrote another children’s book on my own called Together We’re Strong, which involves a song so I’m looking for a musician who wants to collaborate and record the song to be included in the book. It’s about cultivating strong relationships and remembering our inner strength and wisdom. I’m co-writing a curriculum kit called How can we make more money?, which is a values-based finance education kit that I’m working on with AORTA and three other organizations. We are centering people who have felt uncomfortable, fearful, pushed out, isolated, or otherwise excluded in money conversations, like women, trans folks, folks of color, and communities that are disinvested and marginalized by capitalism. That’s who we’re centering and who we are. It’s meant for people who are in group-oriented spaces where they’re talking about finances.

Can you share a bit about your relationship to AORTA and what that is?

AORTA (Anti-Oppression Resource and Training Alliance) is a worker-owned cooperative, democratically owned and run by the people who work in it. Myself and five other people founded it in 2010. AORTA members work as educators, facilitators, and consultants. The goal is to build movements for social justice and a solidarity economy, which is an economy that values people and their wellbeing over the accumulation of profit. They do workshops and consulting on organizational transformation through an analysis of systemic power, which is what I was doing for a long time. But I got tired of talking about and teaching about white supremacy and systemic power day in and day out. I put my time in. I’m excited to leave behind some of that work. Bless AORTA for continuing to do it.

I see collectives and cooperatives as spaces of experimentation for how we want to work and be, where we can try and fail and learn and reflect and try again. In doing so, we’re building the skills we want for the bigger picture. There’s so many spaces where we’re lacking models, and the needs of each group are a bit different. Something that works really well in one space isn’t gonna work somewhere else. I think of them as laboratories or petri dishes where we’re experimenting and building our skills.

A lot of people aren’t able to integrate the things that they care about and are skilled at into their paid work. It sounds like a lot of the stuff you’re excited about doing actually supports you financially.

Yeah. I’ve asked myself, how can I do the things I love and not have them be separate from what sustains me? Where’s my passion, where’s my love, and where are my skills and how can I make those make me money? I’m disabled and have varying levels of capacity to do things from day-to-day and week-to-week. Having a model of income that allows my capacity to ebb and flow is necessary for me. I don’t  fit well under capitalism — I’m not consistently able-bodied, but I’m not consistently disabled to the point where I can’t work, which means it’s very hard for me to access disability benefits. Something that has been a long-growing edge for me is understanding that I deserve fair pay. Just because I like doing something doesn’t mean I have to do it for free, especially as someone who’s disabled and at the brunt end of a lot of systemic violence and oppression. It’s been a journey to recognize and honor my experience and skills.

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[Image: Kiran in front of railroad tracks running through lush greenery. Photo by Chanelle Gallant.] 
That concept has come up a lot in these interviews. What has your process of getting to a point where you are more comfortable in acknowledging you deserve to be fairly paid?

One way I’ve gotten there is time. I’m 35. I’ve had some time to heal from trauma, build my understanding of my own worth, and build up real skillsets. I’ve been doing this for a while and have experience and expertise. A huge chunk of it is my peers — other women of color and queer and trans folks of color lifting each other up, witnessing each other, and pep talking each other all the time. It’s invaluable. A friend of mine who’s a queer woman of color and chronically ill was like, we especially deserve to get paid fairly, because we need it! She reminded me: you don’t want a yacht, you’re not even looking to buy a house right now, you want healthcare! I was like, oh right — I want to make money to meet my body’s needs. I mean, yes, I do want to be able to own a home someday, but right now, I want to be able to pay for healthcare.  My peers and community lift me up in being able to claim and own that.

I’m transitioning out of a pattern of working too hard for too little for too long, which has wrecked my body. My body is more sensitive than many and the impacts of that are large and long-affecting. I’m unwilling to do that anymore, which means I have to be able to work a healthy amount, for enough, instead of too much for too little. It doesn’t feel like an option to work more.

Part of where that growth in me has come is through other disabled folks and the disability justice movement in general — questioning a paradigm of crisis-based organizing, rapid response to everything all the time. These last few months, being self employed, I’ve been centering building a healthy workload.  After eight years of feeling over capacity and overworked I don’t feel that way right now, and that is building up my health. This doesn’t feel like a compromise to me anymore. How can I work for justice more broadly if I don’t do that for myself? If I can’t look at my own self with compassion and want myself to feel healthy and well? The internal and external have to happen at the same time. If I’m enacting harm on myself and my process of trying to work for justice, then I’m not building the world I want to live in. I have to be doing my transformation work with me as part of the equation.

Not to mention you don’t actually have the offerings you want to offer the world if you’re not well enough to be okay. To complicate this conversation a little more… I imagine you’re offering your skills and expertise to people with less means. How do you hold the tension of being paid fairly with making your services accessible to communities you care about?

I’m feeling that in my nutrition work because I’m focusing on other people with EDS. We don’t have a lot of money because it often goes to healthcare. I keep track of all the hours I work, even unpaid hours. I can see what my ratio of paid to unpaid work is. Right now my sliding scale for my one-on-one consultations is dependent on people paying on the high end; the low end only works if people pay on the high end. I’m trying this out for six months and then will assess: if I look at my hours and pay and decide it’s not working I’m going to have a tiered sliding scale — once the lowest tier fills up for a month, people can either pay the next tier up or book out longer where that lower tier is still available so it balances itself out and that the low end stays as low as it is. I also do work for free; I just document it as if it’s work. I invoice the full amount of the cost and the full amount as a discount, just so my hours are in my bookkeeping. I find when I do this, it helps folks understand that my pro bono work is me investing in them and their labor.

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[Image: Maren and Kiran at a rally. Kiran is holding a sign that says “Become Ungovernable”.] 
How has that been received?

It’s been received really well. People are into it. It shifts the way people see my labor. They realize, oh, you chose to do this for me or for our organization because you want to support our work.

What’s your role in creating the world you want to live in?

The uniting piece of all the work I do is to fortify the health of individuals and communities so we can better engage in work for justice. That connects to my facilitation work, my nutrition work, my artistic labor, and my mediation work. If you’re fortified, you can go out into the world and do a lot.

It sounds like a lot of what you’re doing is trying to make living and working more sustainable for yourself and others. What are the things that support you in taking on and doing this work and what are barriers to that being sustainable?

My community is a big support. I’ve lived in the bay since 2000, save for leaving and coming back a couple times. I have many long-term friendships that are family that support me hugely. I can’t ignore the fact that we’re all interdependent upon each other. Some people can pretend that away. The reality is very in-my-face, as someone who’s more disabled than many others. It’s through people and relationships and the generosity of others that I’m here.

There’s logistical things. Being my own boss means I set my own hours and work as much as I’m able to; it also means knowing that I’m the one responsible for making sure I get paid. That can feel scary, but there’s a lot of ways it works really well for me.

Living on the east coast, I realized there were many things about the Bay Area I took for granted that decreased the amount of time, energy, and money I invested in my health . The climate here is pretty stable and steady so I’m in a lot less pain. The culture of accessibility is stronger and more supportive: the disability rights and disability justice movements have a strong history here. It is pretty common for movement spaces to be low-scent and for people to name and think about accessibility. I manage so much of my health via food, which is more affordable here,  where the food is grown and fresh year-round.

Barriers are racial capitalism and a lack of access to quality healthcare in the U.S. I fantasize about moving somewhere with socialized healthcare but in reality I don’t want to leave my community. Even if I had a pretty good health insurance program, much of my care isn’t covered by insurance because it’s preventative and maintenance care — like nutritionists, acupuncturists, osteopaths, herbalists, food, supplements, personal trainers, and physical therapists. That feels like the biggest barrier to me actualizing my full self in so many ways.

What do you mean when you say you can’t ignore your relationship to interdependence?

The reality is that we are all temporarily able-bodied and that we are interdependent: we need each other. However, some folks are able to deny that reality more easily than others. My physical ability shifts from day to day, sometimes hour to hour. I feel very aware of my interdependence. My close relationships neccessitate me sharing access needs, not just once, but as they shift day-to-day.

For example, sometimes I am exceptionally low energy and can’t go out, or need to ask for support with basic house chores. I often can’t lift heavy things. Sometimes I can bike or walk places, sometimes I can’t. I’ve gone through phases of my life where I have relied on others to  help me dress, cook my food, clean up, and do my laundry. I moved recently, and asked friends to help move my things, but felt bad not helping out, so I did. I ended up injured and in pain for three weeks. I had to see an osteopath twice in that time, which ended up being more expensive than if I had just hired movers. A lot of things that people do for themselves, I call a friend for. I sometimes feel isolated. There’s a lot of organizing events I want to go to but can’t because they’re too loud, stimulating, or late at night.

We rely on the support of others all the time. If you have a hard day and call your sibling or your best friend, that’s interdependence. We need each other to live. People who don’t have community often struggle. This fact is very present for me. The intimacy I build to be able to call someone and ask for help requires a lot of vulnerability. It can also build intimacy and strength and trust in relationships, and give others permission to share their needs and get them met.

What is the world you want to live in?

The world I want to live in celebrates interdependence and is set up for us to thrive. It’s obviously anti-capitalist because it’s one where competition isn’t the underlying ideology. It’s a world where collaboration, cooperation, and seeking to support each other is the underlying outlook. It’s locally based. Things that are rights, are rights — like access to clean water, clean air, clean ground, stable and healthy housing, healthcare, and education that teaches us about our peoples, our value, our worth, our power. Teaches us how to communicate with each other, to collaborate, to negotiate, move through conflict, and is easily accessible and free. It’s got a lot of art and color. Things are sometimes done for beauty or joy, rather than efficiency. It’s a world that celebrates the beauty of craftsmanship — placing intention and care into something with the intent of it sticking around. Where no one’s disposable and where everyone is seen as valuable. That includes our home — our land and animal co-habitators. We’re caring for something precious and sacred. Wouldn’t that be amazing, to walk down the street and know and feel that everyone who looks at you is looking for the beauty in you, and vice versa? That’s what I want.

I’m wondering about your relationship to hope in this. For me, it’s easy to get bummed out and feel hopeless. The palpable way you’re talking about this world makes it seems like you have glimpses or experiences of it already.

I definitely have hope because it’s the only way we can survive. Me, my sweetie, and a few other folks started this sci-fi book club a few years back and realized a lot of the books we were reading were dystopian, so we started seeking out books that were utopian or contained moments of utopian sci-fi in them. It felt really exciting. I started writing out — what is my utopian world? It’s a skill, to be able to articulate that. We get trained out of it. More commonly we are trained to articulate what are we against. Yes, we need people doing resistance work and stopping unjust things that are happening. And we need to be building what we envision and dream of. Not just protecting against losses, but expanding and building.

Where I clearly see my work is in creating and building what I want. I see it in moments when I’m facilitating and a group melts and is able to talk across difference in a way that they couldn’t before. I watch their barriers drop. I see it when I give one-on-one care to someone who’s used to being treated inhumanely and then is stunned by being treated with love and care. I see it on long meditation retreats when I watch people start to shift and look at each other like we’re something precious and valuable. I’ve experienced it — I know it’s possible. For me, the question is, how do we extend those moments, multiply those spaces? Those moments are there. They pop up, they’re amazing, people get moved by them. How do we lengthen and grow them?

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[Image: Kiran selfies in the cold with a furry hooded jacket.] 
Where are you at today with that question of lengthening and growing?

For me it’s been through intentionally engaging in spiritual practice and growth and integrating that with the other work I’m doing. I don’t feel I can do movement work without spiritual practice. It can be different spiritual practice for everyone. For me, understanding my relationship to the sacred, and how my values connect to my action is necessary for lengthening and growing those spaces. Those spaces shine light on the divine and the beauty within us. The more I dive deeply into my own personal spiritual practice the more I see these spaces around me. I can’t help but assume part of that is because something in me is transforming that allows me to contribute to the creation of spaces like that, and builds my capacity to be compassionate towards others. It’s building my capacity to be with other people who are going through their own stuff and not take it personally.

Do you feel like sharing or describing any piece of your spiritual life and practices?

I have been studying Buddhism for 12 years now. My mom is Catholic, my dad’s family is Hindu, and my dad is atheist. I grew up with a mishmash of Hindu and Catholic culture and going to a Catholic after-school program. In middle school I went up to my mom and said, ‘I don’t ever want to go there again; I don’t believe in god.’ She stayed still and quiet for a long time and then she just went, okay. Shining star moment for her. I didn’t believe in that god because they were teaching me to fear that god. It wasn’t right.

I have always been very spiritual. I studied tai chi and meditation for health, then was exposed to the Four Noble Truths and the Eightfold Path of Buddhism. I go to the East Bay Meditation Center. They have a POC Sangha every Thursday night, 7-9pm. This year I joined the Sangha’s coordinating committee, which is an exciting way for me to give to that space and deepen my own practice. I’ve done weeklong retreats both at meditation centers and one of Thich Nhat Hahn’s monasteries learning from the monks and nuns, reading books, and going to teachings. I’m choosing it as a path of study and watching my whole life transform around me as I do it.

Kemi Alabi, another World We Want interviewee, also talked about EBMC being a transformative place for them.

It’s a jewel! They run on gift economics. Everything is offered freely and the request is that you give to help other people access that space. It is a radical shift. It’s not even a sliding scale with no one turned away — it’s an offering. We ask that you offer what you can so that others may receive it. That’s the only way it’s going to exist tomorrow or next month, if those of us who are here today give so people in a month can go. That’s outside of the capitalist paradigm and that’s the future.

In addition to your spiritual life and practices, what else is inspiring and guiding you in this moment?

I just read the Broken Earth trilogy by N.K. Jemisen. So much of it spoke to how empires fall, over and over again. It’s shifting the way I look at this world and this empire. Historically, every empire that has been, has fallen. That is awesome. This empire is going to fall, you know?

I’ve been friend-building with Mia Mingus this year, hanging out and talking about disability justice, gender, transformative justice, healthcare, and the intersections of all of our interests. It’s exciting and inspirational to plot how we might collaborate. Collaborations in general are really inspiring me right now.  Going to some of my friends and expressing, ‘I’m starry eyed for you and your work, can we collaborate?’

I feel inspired by the coalition that just stopped Urban Shield here in Oakland, and the years of labor it took to do that. I recently saw Angela Davis speak and it felt inspirational to hear from an elder who has a long haul perspective. When I was living in Michigan a while back I got to share space with Grace Lee Boggs. She revolutionized the way I thought about things. She talked about how she used to think about, how’s the work we’re doing now going to affect us in a decade. Then she started shifting to a century: how’s the work we’re doing now going to affect us in a century?

Another form of generational thinking is the folks that are running the Sogorea Te’ Land Trust. The first indigenous women’s-led land trust are returning Ohlone lands back to Ohlone stewardship. Their work is incredibly inspirational and hopeful. They’re looking to gain access to land so they can steward its wellbeing and community wellbeing. It’s the opposite of how many folks in the Bay Area are thinking about land right now. That is the future I want to live in, right now. They’re doing revolutionary, beautiful work for all of us. The graciousness of doing that work for all of us. It’s not like, we’re getting our land back so we can have it, which could be so easy to feel that way and to message it that way! But instead, this land needs our care. If we’re all gonna live on it it needs to be healthy, and we want to make sure that it is. That’s that same long-vision as Grace Lee Boggs. How are we setting our descendants up 100 years from now? How are we shifting things for them? That inspires me.

It’s good to hear these reminders of these ways that people are already building and creating this the world we want to live in.

If you can see it, you can resource yourself from that. Take hope from what they’re doing and then do the piece that fits. That was a big shift for me. Coming out of doing so much political education and organizing work and shifting to realize, I’m still doing work that builds a left movement. But I’m not doing it for the movement, I’m doing it for the people. The shift feels more centered in heart and in our wellbeing. It’s deeply informed by left movement and all of the mentors, elders, and peers that have guided me along the way. ‘The movement’ is an intangible thing that I have experienced as treating me as disposal, just like capitalism has treated me. With all love to the left movement, it not yet strong in caring for people with disabilities. Many people I care about can’t see through this paradigm to what it could be like. Can’t even see what they’re doing when a mirror is held up to them. If I keep doing my work from a people-focus, that’s gonna help shift what things look like in the future.

kiran nigam, NTC, is an educator, facilitator, organization consultant, certified Nutritional Therapy Consultant, and Virgo magician whose goal is to help fortify our communities so that we may be healthier, happier, stronger, and more effective in bringing about justice and transformation. Through Fortify Community Health, kiran works with individuals and organizations to support healing, health, and well being at all levels. She is a current member of the Coordinating Committee for the People of Color Sangha at the East Bay Meditation Center, and a former co-founder and worker-owner of AORTA: Anti-Oppression Resource and Training Alliance.

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[Image: Kiran sits on a couch with their arms spread out. Photo by Sam Smith.] 

Kemi on healing intergenerational trauma, culture shift work, and how creativity makes them come alive

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Photo by Ally Almore

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

My name is Kemi Alabi. I am a Black, queer, non-binary femme. Child of immigrants — an immigrant father and a mother with lineage in the south. Leo sun, Capricorn rising, Scorpio moon.

How are you doing?

I just saw Black Panther twice within the last twelve hours. Engaging with cultural products that have a rigorous imagination around Black communities thriving is incredibly refreshing. As someone with a Nigerian father and Black American mother, it’s invigorating to engage with something looking at the continent from outside of the colonial gaze — not that that hasn’t had its influence on the film or how it was made. It’s radical to imagine that future and to have it so widely distributed. It’s been an exciting weekend to engage with other Black folks around this imaginative opportunity for us. I’m buzzing from that. The theater was full of Black people who were just living — all dressed up, and the way we’re engaged with these powerful moments felt liberatory. I’m excited for what we can imagine next — healthy, thriving Black communities that exist without centering whiteness or the anti-Black narratives that have been the through line that gets created and distributed in this county.

That’s so good. I first met you seeing you perform your poetry in college. Do you still spend time on poetry?

Yeah, that’s still a huge part of my life. I value cultural space as a place where communities build narrative power for themselves. Culture and politics are so inextricably linked. I’ve been writing beyond college and that’s been really gratifying. I also work for Forward Together. We hold cultural and movement building strategies, and grassroots power-building strategies. Recently I got to work with poets for our Trans Day of Resilience project where we paired poets with a visual artist and together they imagined a future where trans folks of color could thrive. To cultivate imagination is already a radical act, but to be able to have the resources to be able to distribute it as a cultural process that other people are engaging with is something I’m really grateful to be involved with.

I also manage Echoing Ida, a program for Black women and non-binary writers which engages us in the narrative power of journalism like op-eds, reported features, and interviews. Narrative and culture shift is interwoven in my everyday, whether it’s facilitating it through my professional work or doing it myself as a writer.

I’d love to hear you talk more about why that’s where you’ve chosen to put your energy. What is powerful about culture shift work for you and for a broader ‘us’?

We live in a world with material consequences and material inequality. When I was coming up, I thought that to engage with that work was purely about building a very particular type of power to move institutional levers. But especially as someone socialized as a Black girl growing up in Wisconsin with an immigrant father, there’s also a truth to what it means to unlearn these hegemonic ideals that actually create our political space. There’s a clear interplay between our political systems and our cultural ideas. I studied political science and philosophy, and one of the main things I learned is — basically a bunch of white dudes got to write whole worlds into being. They created arguments that justified them and planted seeds of ideas that were taken as truths and built empires. I really believe in the power of ideas. Race, gender, and nation-states are upheld by ideas that are like the air we breathe. So what does it mean to try to re-program what people think is common sense? Where I grew up, trying to untangle what is common sense is not a matter of voter registration and winning an election, it’s a matter of changing the cultural products people are engaging with in the day-to-day. What type of narratives are taught in our schools, what type of narratives are in popular culture? That’s where we get these formative ideas.

There’s this quote at [our alma mater] Boston University’s Howard Thurman Center: “Don’t ask what the world needs, ask what makes you come alive and go do it. Because what the world needs is people who have come alive.” I’m not an organizer. I have always loved words and writing. I come alive when I’m interacting with narratives, stories, and creative space. Culture shift work is where I get the juice. It’s perhaps less valued as a site for justice work to happen, and seen as less tangible than our political institutions. But once we name what the dominant narratives are, we can then do the work of changing them.

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Photo by Ally Almore

What do you see as your role and work in this political moment?

I ask this question of myself a lot, because who knows. Sometimes I feel like I don’t have the skills I need to make change. I consider myself in the role of student and listener, and trying to figure out what it means to be in community and engage in cultural work. I am in a reflective place with my writing. My role is someone who’s trying to imagine freedom, and use my tools and facilitation skills to get other people to think about and answer that question. I find myself in community with other Black queer artists and writers grappling with the question of what it means to heal ourselves and our communities, and thinking about how to engage with that in our work and create space for one another.

People always talk about self-care and healing as if it’s a side project from the real work. What’s your perspective on how healing fits into movement work?

When I first tried to engage in organizing spaces, I was coming with so much trauma. We’re all working through our traumas. Doing so in interdependent community requires that we show up in a different way. The healing work that I’ve begun I’ve learned from other Black women and femmes I’ve been in movement spaces with. As I was trying to engage with this political work that’s deeply personal, there was no other option. It was like, engage with the hard-as-fuck work of healing… or collapse, and don’t do the work at all.

We as Black queer and trans folks are carrying intergenerational trauma in our bodies and within our families. The work of imagining something else is deeply challenging. I see healing as the gateway. I see it as a facilitative process to be able to engage with our deeply fucked political system in a sustainable way without burning out, giving up, and re-traumatizing one another. To be able to be in right relationship with one another well enough to move forward together requires that we handle our shit.

I’d love to hear about some components of your healing process.

I was raised Baptist christian, in a church that was not affirming, grounding, or engaging in the political world with integrity. I left in righteous anger, but in a way that also estranged me from my own spirit, intuition, and relationship with myself. I’ve been encountering Black folks who engage with more ancestral practices — practices that are less connected with colonization, white supremacy, capitalism, and the enlightenment rational-thought-over-everything-mindset. They’ve introduced me to some altar and ancestor practices that have connected me deeply with my intuition. I have a beautiful hella Black, hella queer tarot deck I pull from — Shrine of the Black Medusa by Casey Rocheteau, a Black queer poet out of Detroit. Whether or not I’m practicing the nuts and bolts of Orishas, Yoruba, and other African spiritual practices, these practices reconnect me with my intuition, my body, and the idea that our emotions are information to be valued and listened to. That has been deeply healing. Spiritual practices that allow me to trust and listen to myself again allow me to better be in community with other people. My practice involves my altar setup, with photos of my family, some artwork, crystals that I engage with, candles, and the deck I mentioned. Because I’m a queerdo, I think about chosen ancestors. As opposed to a blood lineage, I think about lineages of purpose. Whose purposes am I continuing here on this earth and how am I in communication with those folks? I’m a depressed and anxious person. It’s way easier for me to live in this life if I think I’m not figuring this out from scratch, there are so many people who came before me. I’m a continuation of a lineage and a purpose and that’s why I’m here. Every day I ask for an invitation by pulling a card and let it invite a question I can interrogate. Something to guide me through. Meditation has been huge for me. As someone who’s really estranged from my body, the practice of meditating and thinking about my chakras has been wild. In Oakland I started going to East Bay Meditation Center which is a deeply politicized spiritual space. I can’t explain what that space did for me as far as what it healed between my mind and my body and my spirit to be able to engage in a meditation practice.

I noticed you said ‘reconnecting,’ instead of just connecting. What is that in reference to?

It’s in reference to capitalism. We live within a system that relies on estranging our bodies from our minds. Our labor is divorced from ourself because it belongs to someone else. My mom and brothers are still working themselves to death in jobs that aren’t aligned with purpose just to grab some coin and get out of debt. Black folks have no wealth. Blackness was created to exploit the labor of stolen people. The premise of capitalism is estrangement from the self, for the purposes of giving our labor to amass wealth for white people. That estrangement exists in every level of our lives. It exists within the self, within our body, in our minds and spirits. It exists in our relationships with each other and with the earth, because capitalism has informed how we are in relationships of extraction. We’re born into systems that rely on and cultivate that estrangement. I find it necessary to transform those relationships into something that’s more balanced, harmonious, and connected. When I say reconnect, I mean that I believe we’re not creating a brand new future. I think about indigenous peoples and pre-colonized societies. There’s knowledge we have lost rather than knowledge that we’ve never had. These systems are interruptive. The healing we do is a way to return to right relationship as opposed to getting them for the first time. But as someone born into these systems and of my particular background, I cannot exactly know a time when I was connected with my body, intuition, neighbors, or family.

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Photo by Hewan Aberra

What is the world you want to live in?

I think it’s Movement Generation that says the foundation of society is not the individual but the relationship. I think about right relationship a lot. What it really means to be able to name our needs for one another and to meet those needs in community, to really be interdependent with one another. Not extracting from one another but figuring out what that sustainable relationship is with one another and ourselves, what it means to live and thrive on this earth. People have different answers but I think it’s a matter of developing all the resources that we need to manifest these lives of dignity and purpose. What does it mean to reimagine a city, or any community where what is produced is shared with all its community members? The first step is cultivating imagination and trust. You can’t just dismantle capitalism and expect everyone to know where to go. We’re estranged from what we actually want and need from life and from one another.

I can’t name what the world should look like. But I know that it takes building completely different types of relationships with one another and being able to meet each others’ needs without these hierarchal goal systems that extract whatever skills and labor we have and move it somewhere else. If we had already imagined a system that vibed with everyone, there’d be a train there by now, but that’s part of the problem, right? We’re waging these wars where the opposition already has a very clear image of what they want the world to look like, because it’s what the world looks like now. One of the huge barriers to victory for any type of movement for justice is not being able to present a shared vision of what another world looks like. Right now, people are in deeply imagining spaces so that folks can invite more people in to movement work by presenting real valuable alternatives. It’s in process. I’m excited to see what those are and what they can be.

Our imaginations are battlegrounds. We cede so much imagination to those who keep power from us. If you look at literature of people who have lived under fascism and study how language and certain cultural products are disseminated under particular types of governments, it’s always been very much in the interest of power to control ideas of people. That shit really works. If you can’t imagine it, you can’t fight for it, and you can’t build it. Our imaginations have always been under siege in a very particular way.

I’d love to hear what you see in your life as the supports and resources for you being in this work, and what are the things that feel like barriers or limitations for you to be in this work in a sustainable way?

It’s hard to say everything I’m saying about radical imagination when folks don’t have money. I have a family with debt and histories of incarceration and addiction. I’m in a relative position of access to capital and resources and sometimes think I just gotta hustle to provide for my folks and to be a stabilizing force — you know, participate in capitalism, hoard resources, and be on my Black capitalist tip. There are immediate material needs to be met. The reality, stress, confusion, and deeply depressing parts of that feel like the biggest limiting factor.

Engaging with all of the horrors of this world is really overwhelming. I don’t necessarily have the constitution. I just moved to Chicago, where I’m not really in community with folks in the way I imagine as liberatory. It’s community that I’m working on building and I’m excited to plug in. But to be without a sense of place and interdependence means the work I want to engage with is largely theoretical at this point. But all of the amazing Black writers and artists who I’ve connected with here are engaging with invaluable ideas and narrative shifts. Everyone has been bringing up the idea of darkness. I just met up with a new writer friend of mine, R.L. Watson, who does visual art and writes fiction, poetry, and plays. She’s thinking about the reframe of darkness — away from the binary opposition to white and to light, which serves a clear purpose within our society. So many people are on a similar wavelength creatively. We’re all feeling this juju. Thinking about the visibility of Black poetry and Black art in general over the last few years, I don’t want to jinx it by calling it a renaissance, but we’re in a cultural moment that feels significant. Connecting with people who are exploring similar ideas of Black liberation in their work feels sustaining to me. To be riding similar wavelengths with other Black artists locally and figuring out ways that we can work together and build work off of one another as opposed to working separately feels really sustaining to me. Then through Forward Together to be able to combine culture shift projects with movement building, and bring this narrative and culture shift work to organizations around the country feels powerful. The barriers are trying to hold on to how much I value culture shift work, and being bombarded with the immediate material needs of myself, my family, and the people around me.

I don’t know if you listened to the episode of [adrienne maree brown and Autumn Brown’s podcast] “How to Survive the End of the World,” when one of the sisters describes something as her darkest moment and corrects herself to instead call it her palest moment.

No, I didn’t, that’s amazing!

It’s such a simple reframe, but also very powerful.

The artist I was talking with this morning is R.L. Watson. She’s getting her phD in literature and engaging with the history of lynching and the white imagination of Black people. She’s engaging with old racist texts for her research, and was struck by how horrifically simple the idea of anti-Black racism is. White identity formation is based on the othering and imagined evil of people with dark skin. Distinct European folks created a shared identity that gave them the numbers to have power, which has persisted and is integrated into all of our culture. She was struck. She was like, this is a stupid text, the prose was awful, but it’s a very simple, powerful idea. The systems that are oppressing us are built on these simple but powerful ideas. It can be dumbfounding to figure out how to meaningfully engage in the realm of ideas, but when you get down to it, they’re powerful, small, stupid, simple ideas we’re waging a battle against. I’m excited that some seeds of it, like this idea of darkness, are being turned over. I’m excited to see what other levers can be simultaneously pushed by writers, artists, and cultural makers as we untangle white supremacy together. White supremacy is such a simple, terrible idea.

It’s so interesting to think about something being simultaneously so fragile and simple, and also so insidious and empowered by its proliferation.

Absolutely. I was really empowered by Toni Morrison, who’s a great writer and thinker, published an essay called Mourning for Whiteness. It did a very simple thing for me, but it was huge. It took power away from whiteness by not framing our current political moment as a moment of white empowerment, but as the last throes of empire. More specifically, she was mourning the humanity of white people — seeing this political moment as a clear sign of humanity lost and estranged from an entire people. That idea was to relocate power elsewhere and not in necessarily who is owning and exercising power through political systems, but who is in right relationship with their humanity. This lightning-shocked me. Narrative shifts that resonate with people are important for being able to locate power in oneself and one’s community. Everyone should read that essay.

That perspective is so true, but it takes so much compassion to acknowledge that what’s really under all the violence and oppression of white supremacy is the disconnection and loss of humanity. Of course compassion is not in contradiction to righteous anger, but ultimately it’s gonna be more sustainable, right?

Right, and that’s what I think about — what is sustainable? What is an empowering narrative? I’m all about some righteous anger. But also it’s really important to relocate power in other ways.

Who are the other artists, writers, and works who are inspiring and guiding you right now?

I mentioned my chosen ancestors. I’m also trying to discover who my poetic elders are. I’m in community with so many Black writers and poets; I’m getting so much from so many people. Whether it’s the greats like Toni Morrison and James Baldwin or contemporary poets like Danez Smith, whose latest connection was Don’t Call Us Dead, which was about the idea that the death of murdered Black boys is not a spiritual death — that there is more freedom in death, a life and joy beyond. So transformative. Black artists have engaged with this idea for a long time, even in popular culture. In Flying Lotus and Kendrick Lamar’s “Never Catch Me”  music video directed by Hiro Murai, we see a funeral for two children. As soon as the song kicks up, the children rise from their caskets and start dancing. No one in the pews notices — they still see dead children — but we as the audience see them dance out of the pews with this ridiculous amount of joy. They leave the funeral parlor, jump into the back of a hearse, and drive the hearse down the street with all of these kids running after it.

For Black Futures Month, Black Lives Matter paired artists with writers to imagine liberated Black futures. We’re in a cultural moment where we’re imagining Black joy and freedom throughout a lot of different disciplines. It’s not new. Black artists have always been doing that interrogation and that reaching beyond. I’m only engaging with work by Black artists because I’m trying to be in that particular space of imagination. I’m very excited to then engage with other writers of color and indigenous writers who are doing that work. But I’m finding it really important for me to locate that within Black folks first.

Is anything else coming up for you in the course of this conversation?

I’m just a person who’s trying to live with integrity and a sense of freedom in a deeply unfree place. I’m so in process, and I’ve been in a space of trying to be deeply compassionate with myself as I figure out how to show up in movement and organizing spaces. Especially as someone who’s just moved to a new city, I find myself in a point of deep transition. I’m like, what work am I doing, what is actually happening? I am just a person who is asking a lot of questions and figuring out how I can best be in service of people around me and of the communities I come from. That service might look different a few months or a year or decades from now, and hopefully it does. As I keep gaining skills and knowledge, and engaging with different people in different communities, I’ll find that I have the skills to fill the different needs that arise. But who knows what I’m doing now. Just trying to figure out how to thrive.

Kemi Alabi is a writer, editor and teaching artist from Wisconsin. Their poetry and essays live in The BreakBeat Poets Vol. 2: Black Girl Magic, The Guardian, TEDx, Catapult, Apogee Journal, Winter Tangerine, BOAAT, Nat. Brut and elsewhere. As editorial manager of Forward Together, they hold down Echoing Ida, a home for Black women and nonbinary writers. They’re also a poetry reader for Muzzle Magazine. Kemi lives in Chicago and believes in Black queer futures. This interview is part of a series for The World We Want to Live in.

Kemi Alabi by Mika Munoz 2.JPG
Photo by Mika Munoz

Bridget on accessible herbalism, ‘wellness’ as a construct, and living in the world her ancestors would have wanted to

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

My name is Bridget. I am an herbalist, a queer person of color, a femme, an Iranian-American, and a lot of other things.

How are you doing?

I’m doing a lot better than I was a year ago. Like many others, I was in a dark place post-election. This year has included challenges, deep sadnesses, and frustrations, but it’s also been tempered with hope, community, and feeling more held. I’m doing better.

Are there material shifts in your life you can trace to that change?

I am in healthier relationships now than I was in the past. I’ve come out more to my family and to the world. I’ve been ‘out’ to friends since I moved here five years ago, but it’s been a slow coming out process to other people in my family and to the public. That’s felt good. I also got a well-paying, nice job at a bakery, Sweet Adeline’s, two blocks down the street where I show up, do my easy job with nice people, and make good money. That made a huge difference for me. I was struggling to thrive on herbalism stuff and not making enough money.

How has coming out as a queer person been for you?

I’ve known I was queer for a long time. My dad’s family is in Iran, so I grew up with my mom’s family. Most of them are liberal-leaning democrat-types, but the patriarch and matriarch — my mom’s parents — are Trump-supporting assholes who love their family but no one outside of it. It’s strange to be a racially mixed person in that family, and also queer, and nobody knows it. I hear both homophobic things as well as blatantly racist and Islamophobic things people say while knowing I’m middle-eastern and my dad is Muslim. Because of that and because of my identity as a femme it was easy to pretend to be straight. I was in a relationship with a cis guy and people would leave me alone. But more and more I want to be authentic to myself and care less about what other people are gonna think, say, and do. I’m not going to be someone else for your benefit. It’s taken a long time to arrive at and to be honest with my family about how painful it’s been being a mixed Middle Eastern person in a group where everybody else was white and christian. It’s been hard and super devastating, but being on the other side of it, it was a good idea. Ultimately I want to have more authentic connections with people including family members. If they can get to a place where they understand who I am and want to still engage with me, great. If not, it’s not a worthwhile connection for me anymore.

How did you come to herbalism and what does that work look like in your life today?

I came to herbalism from a health crisis. A decade ago I developed Graves Disease, an overactive thyroid immune disorder. The ‘normal’ treatment is to get your thyroid irradiated. I was 20, getting stressed out with heart palpitations and other weird symptoms. I went to a specialist’s office and waited an hour and a half for my appointment. I got in and the doctor was looking down at her chart when she walked in the door and didn’t even make eye contact with me. She was like, okay you have Grave’s Disease, when would you like to schedule your radiation? I was like, whoa — step one is to destroy this organ that isn’t working with radioactivity — so badly I can’t touch people for three days? I was like, is there nothing else I could possibly do? She said no. I decided to go home and do some research, and started trying some plants instead. After a year of taking a formula with lemon balm, I have totally normal lab work and I have ever since. My other option would have been to destroy this organ that’s basically the conductor of your entire system. I would have had to take a pill to replace it for the rest of my life and if I didn’t, I would die.

After that I was student teaching and it was really challenging. I was 22, teaching 17 year-olds U.S. history at 7:30 in the morning their last semester of high school. There were 35 kids in my classes; there were kids in the class who couldn’t read in the same class with kids applying to Ivy League schools. I wanted to be a history teacher so I could change the world by making people think differently and showing them the truth. But all the kids I was taking care of were so ill all the time. They were getting coughs, colds, sore throats, stomach aches, and they were stressed and depressed. I realized I wanted to work at a different point in the line, and focus on more bodily and mind healing as opposed to political considerations.

unnamedI came out here with the plan of going to school at the California School of Herbal Studies. When I moved out here I was just like, oh I’ll just save up money for a little bit and then be able to pay for it. Then I got to the Bay Area and realized that’s a joke, no one saves money out here. So, I have a deathly pine nut allergy. I ate something from Berkeley Bowl with pine nuts in it that was improperly labeled and ended up almost dying. I was blue and practically unconscious and having seizures when I got to the hospital. I ended up suing Berkeley Bowl, which I was torn about at first because I didn’t want to fuck up a local company. Then I realized their insurance company in Kentucky was going to give me money, not them, and was like, okay. They gave me just enough money to pay to go to school immediately.

While I learned a lot about plants and met some of the most important people in my life at CSHS, the school itself sucked. It’s a bunch of white hippies appropriating indigenous, Asian, and other cultures, and not addressing it. It was horrible. It was hard being one of only two people of color in the whole class. When I was done I told myself I wouldn’t do a second year herbalism program unless it was in Oakland, in my price range, and taught by queer women of color. A year later, Ancestral Apothecary opened. I just finished my second year with them. It was the exact opposite of California School of Herbal Studies. Everything came from a place of — figure out what your ancestors did and cultivate that. Everybody has indigenous medicine in their line. You can share in that respectfully and not act like it’s yours.

These days I go out into the hills to harvest things, and have a little garden going here. I’m learning more about the plants my ancestors used. In terms of having it as a business, that’s been challenging. Since herbalists aren’t covered by insurance, all the successful herbalists I know charge around $200 to see them for the first time. That is way too much for the population I’m interested in serving. Instead I’ve been charging people sliding scale to $0, which I feel privileged to be able to do. I respect my teachers and other folks who are charging that much money because they deserve to be able to survive on what they make. For me, my partner makes a good amount of money and I don’t think it’s necessary for me to make that much. I would prefer to be able to serve people who are broke and need attention in that way and not make too much money off of it and work at a bakery three days a week.

The transition from teaching to herbalism is an interesting one, especially in the context of you always seeking to do political work. What do you think is important about supporting people in healing their minds and bodies, especially in a political context?

I want to assist my extended community in feeling the way they want to feel. That’s different than being healthy or ‘well’. There’s this big idea about wellness in the health community. Being ‘well’ is not reasonable for everyone; that’s a normative social construct. There are mad people, there are disabled people, and there are chronically ill people who are never going to fit into what other people determine to be well or healthy. That’s okay. Maybe I can help someone who is manic — they don’t want to stop being manic entirely, but maybe they want to feel less exhausted after a manic episode, or have their episodes to be more manageable, or feel less pain during that time. Whatever their personal goals are, I want to help people to achieve that without people needing to strive for some ridiculous idea of perfection. The more our community feels the way they want to feel, the more they’ll be able to do their work, whatever that is. If they feel better about getting out of bed if they want to, or working from bed if they want to do that. I want to be able to help people to feel more comfortable in themselves.

If there was an inverse of that doctor walking in the room staring at your chart, telling you what to do, then looking at you, that’s it. You’re coming in the room, looking at the person, and helping write that chart together.

Yeah. The first time I had a health practitioner sit with me for an hour was transformative. I’d never experienced that kind of care before. So much of the healing was just in somebody sitting with me and being like, the floor is yours. Letting people conduct and craft the path that we’re gonna go down, not hounding them for answers, not forcing certain things, but just being like okay, what do you need? A lot of it’s talk therapy, honestly. It’s holding space for people while they talk about their lives and what’s hard, what works and what doesn’t, what’s been hurting, and why they’re tired and how sick they are and how frustrating that is. I’ve considered going to school to be a therapist or social worker but in this country you can’t actually combine herbalism with either of those. I couldn’t see someone as a therapist and then prescribe herbs. I’d have to have two separate practices.

Wait, herbalism is regulated even though it’s not covered by insurance?

Yes. It sucks. So I recently decided I’m going to go to school for acupuncture, for a few reasons; one of them being acupuncture is the most covered by insurance of any alternative medicine in this country because there are the most western studies proving its efficacy. As an acupuncturist you can do whatever you want with a patient and bill it as acupuncture — talk therapy, herbs, massage, all kinds of modalities. You don’t have to stick people at all if they don’t want that. I see becoming an acupuncturist as a way to become more accessible. I also like acupuncture because the needling itself is a way to bring someone immediate pain relief, which can be  important for people who are experiencing pain right now, as opposed to herbs which often take time.

As someone who moves through the world with a myriad of identities which I assume requires a lot of emotional labor and emotional self-protection all the time, what is it like for emotional labor to also be a huge element of your herbalism work?

There’s certain grounding techniques and practices I’ll do to protect myself from people’s energies who I’m working with. Sometimes I’ll wear certain plants or stones on my body or use flower essences like yarrow to make sure that I have a boundary but not a wall between myself and other people. The population I work with is often people who have been pierced with all these swords — who have been abused, broke, homeless. Hearing these stories can be heavy and I do have that inclination of wanting to fall into it and give them everything. Thankfully, since I was raised in a family of nurses including my mom, I tend to get calmer the more escalated something or someone tends to be. I can just be like, okay, you just gave me a long list of terrible things that have happened to you — let’s see what we can do.

What is the world you want to live in?

I think a lot about my family members who live in Iran. I started going there when I was 22 and it changed my life and perspective a hell of a lot. A lot in that culture is beautiful and I wish we had more of it here; and there’s certain things that are really restrictive because of the political and government situation. I know I already live in the world a lot of my ancestors wanted to live in. Even though there’s war and death, my little piece of the world is already what my ancestors wish they could have lived in and even what a lot of my family members would also want to live in if they had the space to think about it. I want the kind of world where more people could enjoy and appreciate the joy, freedom, and expansiveness I’ve been able to experience. Happiness, freedom, and expansiveness is everyone’s birthright. I want a world where I don’t have to get nervous about flying back and forth between Iran and the US and I can bring my partners with me, and that world doesn’t exist yet.

My dad’s country has been through so much war in his lifetime. Millions of people were gassed in the Iran-Iraq war in the 80’s; they lost so much of their population. Over here, we have a certain flavor of anxiety and depression — we feel like the world might end, but we’ve never actually seen it happen. Over there, the world has already ended, many times, and then it starts again. People keep going, people start over. I know there are folks for whom the world is ending or the world has ended already. The resilience that people have is incredible. I would love to see a world where the only kind of deaths and world-endings that we’re dealing with are the kind that are just about the life-death-life cycle that nature has, that people also deserve to have.

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What do you see as your role in helping to build that world?

Being a healer is a part of that role — helping people who are in pain and being able to mitigate suffering. Bring down the pain, bring some grounding in. Another element of my role is expression, which is slowly coming along — writing, making art, and making music that expresses my perspective. Trying to reach out and connect with people in that way. One of my roles in this world is to honor my ancestors and do good by them. Like, hey, I’m alive, none of you are, so I should be doing good work, enjoying this, and honoring what you have done for me.

What are the things in your life that support you on the path you’re on to making that sustainable, and what are the things that feel like barriers?

There’s so many things that are necessary and helpful for that. Connecting with nature and water especially is really important. I grew up right on the water and it’s one of the most cleansing things for me. When I engage with it I feel renewed, like it helps to wash off other energies. Music, dancing, and being able to get out of my head and into my body is helpful. Engaging with other people with shared goals and experiences — carving out time to spend with other femmes of color because it’s uplifting and supportive to be together in that way.

This part is hard for me — but being okay with when I’m not actively doing anything, and trying not to guilt trip. Spending a day where I don’t do anything except play guitar and make myself some dinner, and being okay with that. That’s not me being lazy or not contributing to the cause, I do think there’s a mentality about having to be ‘on’ every day. That really doesn’t work for me. I get super burnt out. Then I really can’t do anything for a while.

I believe and identify as a witch and I believe in magic. And it’s all magic. Taking care of yourself is magic, taking care of other people is magic. Hanging out with plants is magic. We all deserve to have authentic experiences, and we don’t have to give that up to push forward politically. That is the end goal, that we can all just have authentic experiences with ourselves and others and not have to worry about it. We should get a taste of that now.

Are there people, books, plants, works, art, etc that are inspiring you and helping guide the path you’re on?

Rosemary has been my big star for the past couple years. Rosemary is about energetic protection and connecting, especially with feminine ancestors. I’ve called upon rosemary to protect myself from energies that are intrusive false authorities like cops, the law, all of that. She comes through from multiple of my ancestral lines — Italian and the Iranian side — so I feel her strongly. I love her a lot.

I believe in the dream world as a real place where a lot of my magic comes through. I want us all to be able to pay more attention to our dreams, which is a luxury a lot of people don’t have. When you wake up you cant just lay there and think about your dreams and consider them and take in their messages, you have to run to work. But dreams are important. I’ve had some of my most profound experiences in my life in that world. We all deserve to engage with that because a lot of messages from our ancestors, from earth, and from ourselves come through there — but we have to be able to listen. I’m inspired by the messages that come through in dreams and I like to listen to, hold space for, and honor that. I’m inspired by my grandma on my dad’s side who is a dream healer. I want to be just like her when I grow up.

Are there any other thoughts or feelings coming up in the course of this conversation that you want to share?

This is important work. This is my second interview in two weeks; prior to that I don’t think I’ve ever been interviewed before. The other interview was someone doing her thesis on queer American Iranians. It was empowering to talk about my experience and to hear about others’. We need to tell our stories to each other more. It’s easy to get bogged down by all the hard, sad things, and to get too tired and stressed out to engage, hear people’s stories, or to be vulnerable enough to share yours. But it feels good to do this. Every time I read someone else’s story on The World We Want to Live In or in general, it’s like wow, they’re doing such amazing things! But I’m sure when they’re alone they have the same kind of process as me, like they’re depressed and anxious and freaked out and don’t know if they’re doing anything right. Then they talk about what they’re doing, and it’s like, wow, that’s amazing actually. I hope we can all keep validating each other in that way.

Bridget Afsonna is a queer SWANA femme dream witch living on unceded Ohlone land. As an herbalist she is particularly focused on supporting queer, POC, formerly incarcerated, trans and gender-nonconforming, sex worker, indigenous, fat, neurodivergent, and low-income individuals. She does not believe in blaming people for their health statuses or circumstances, but acknowledges that our culture denies many kinds of people access to health and healthcare. She is interested in lifting queer people up with plants and magic so they can experience whatever they fancy. You can find her at bluewillowherbals.comThis interview is part of a series for The World We Want to Live in.

Panda on reinvention, drag as a tool of resistance, and learning to be a better friend to herself

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photo by Aaron Jay Young

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

My name is Kyle Chu, or Panda Dulce. I am a fourth generation Chinese-American, born and raised in San Francisco, queer person, and drag queen. I use she/her/hers pronouns.

How are you doing?

I’m okay. I’m in an upswing after some ups and downs. 2017 has been a big year — a lot’s happened in the world and in my personal orbit. A friend recently passed who I’ve known from the punk scene since I was young, angry, and becoming. I also made some new friends and began reinventing.

I’m sorry to hear about your losses. What do you mean when you say you’ve been reinventing?

I was heavily involved in direct action and protests since the inauguration. I was very action-oriented, pursuing a lot of creative projects, and working to make my extended family who may have resigned themselves to be politically complacent more cognizant of the issues we’re facing. Given my context, coming out of direct practice social work, I totally burned out on this path. It was holistically consuming. I tried to funnel my energy into drag and looks that would coax action but I ended up self-isolating and retreating because I needed to heal myself, rest, and actually sleep. In the process of doing some high profile work I needed privacy and downtime to recharge.

There’s an expression that says you’ve been building a house your entire life and when you go through your Saturn Return you burn it all down. I just finished my Saturn Return in November. For so long I’ve been on a clear path of activism, social justice, creativity, and have felt intimately connected to the community we’re fortunate to have in the Bay Area. There was a shift that had to something to do with the onslaught of depressing as hell news, the toxicity of social media, and events that happened within our micro-communities in the Bay Area punk scene. A high-profile local scene celebrity was outed as someone who had sexually predated on a lot of women. There was a messy DIY accountability process; people were wheatpasting posters lambasting his character — and others’ in his cadre — all across town. I hated it, I thought it was necessary, and of course, I don’t have a perfect, let alone “better” resolution for this kind of thing. With anything we’re trying to build ourselves, it was new, unfamiliar and more or less Macgyvian.

I saw people get subdued, fall, and steward each others’ trauma in unsustainable ways. Which brought me here. I needed to reinvent myself and the way I process these issues. I’ve withdrawn from a lot of my activism and in its stead, I’ve taken to one-on-one drag mothering queers I meet. Even though drag can also be tiring — editing tracks, hours of makeup, cooking up concepts, looks, and adopting funky side hustles to fund them, it’s reinvigorating to teach someone a craft and watch them learn something new and aesthetically rebirth themselves to reflect their suppressed inner knowings. There’s also something to be said for creating your own makeshift chosen families in that way. I went from trying to impact a huge world that seemed insurmountable to meeting a queer 18-year-old who had experienced a lot of trauma and just wanted to look like a non-terrestrial ball of light.

It sounds like a mutually humanizing experience. Can you speak to the idea of drag as resistance?

I’m reading RuPaul’s autobiography right now just for funzies. One of the things she says is that drag as a queer art form is openly mocking all of the roles that we have internalized and so tightly cling to that we’re unable to see the performance of it anymore. The corners have disappeared. Her whole throughline is “don’t take anything too seriously.” This is not a directive to be problematically carefree, colorblind, and ignore patriarchy. It’s more so to say that drag as a vessel is teaching us to take life more lightly and to laugh in order not to cry. The reason why I enjoy drag is because any fantasy you imagine can be rendered real, palpable, and transmitted through social media. It’s futurist in that sense, like a continual practice of creating boundless “what if” scenarios. Like a lot of art, it’s being able to imagine beyond the scope of your immediate individual work and impact. It’s being able to visualize what you want and bring it to life through crappy CVS products. 

In terms of gender, I have spent a lot of time as a young person feeling very self conscious and having an adversarial relationship with my body, where certain physical aspects and wants have been at stark odds with expectations of me as a partner due to my race and perceived role and stature. I’ve felt that old pain and pull that I must drastically change myself in order to experience love by myself or others/or to participate in a love that is often communicated as solely eros-based, epically Hollywood, traditionally-attractive, able-bodied, hairy, and white. Drag has become a way for that to not be as destructive and as inwardly debilitating as your inner voice can sometimes make it. Drag can become a place to meditate and spend time with yourself. When you watch RuPaul’s Drag Race, the sequence of them putting on makeup and getting into face lasts five minutes, but when you’re just starting out, drag actually takes three to four hours to get into face and to get to your look. That’s you looking at a mirror at yourself for hours. It’s me sitting, being present, listening to SZA and spending time with myself, forcing myself to confront the reality of who I am, and convincing yourself that you can be as beautiful, as grotesque, as shocking, as whatever as any vision you commit your brush to. That in and of itself has been healing. It’s learning to find love for yourself again, and putting that on blast.

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Photo by Urvi Navgrani

When you’re in that meditative process of looking in the mirror and putting intention and imagination into your craft, what do you think is possible for yourself and for the people who witness you?

There’s the aspect of reinvention where you can put on a look that shifts the narrative, either onstage or just for yourself. I’ve always wanted to be a hot girl. It’s being able to revel in showing people everything you’ve held onto internally that you haven’t felt safe enough to manifest physically. Letting it explode. Drag wants a reaction from people. Everything is big. The earrings and hair are big, you make your eyes and lips bigger, you overdraw everything. It’s like yelling at someone to look at you, the inverse of how invisible I’ve felt for a long time. It’s kind of punk. The act of declaring yourself a wild tropical bird you have to look at is arresting in and of itself. It flips everything I’ve experienced in the gay community so far; it makes me feel powerful and big in a milieu that often makes me feel small, irrelevant, and ignored.

What do you see as your role and work in this political moment in your shift to focusing on intimate, emotional connections and work?

I’ve always been in a nurturing or coaching role. I have a twin brother with a disability and I have been coaching, teaching, and guiding him and others who come in contact with him for my entire life. Working with people with disabilities introduced me to working with people of other marginalized identities in social work. I’m fortunate through my art to have met a lot of young drag queens and punks from similar backgrounds who are coming up. The capacity I feel most comfortable with is bringing people up and trying to help them become their best selves. When people find what it is that invigorates them I like to be someone who can help them magnify that.

I appreciate you naming that as work. Many of us have internalized the emotional labor we and others do for granted, work that is often feminized labor and really crucial for building the world we want to live in. What is the world you want to live in?

You know that Lauryn Hill adage, “how are you gon’ win if you ain’t right within?” You need to start with yourself before you assume anything external. I’m addressing the queer male community in particular when I say this —  everyone is struggling to fit a limiting image — fit, white, masculine, and other valued attributes that causes immense splitting and only actually applies to a small hegemonic portion of the community. It’s suffocating, yet everyone is indoctrinated to want it. So the ones who embody this end up presiding over the rest in what ultimately resembles in-crowd go-go dancers looking down upon the rest of their stratified small town high school cafeteria. It’s kinda bleak. I feel like I’m operating in a parallel dimension where everyone I choose to hang with is compassionate, political, and sensitive to others. Those are the values I personally appreciate, and what I want to see arbitrate my community. We need to reimagine who we champion and what we see as beautiful and ideal. That starts with who we, as individuals, proclaim as ideal partners and community members.

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Reverse Genocide Oregon Trail Pilgim Barbie. Photo by Robin Chu.

Care and compassion are so important but I feel like those concepts get simplified into: love trumps hate, and that’s that. It’s harder to convey the depth and power that comes from true compassion and deeply honoring people’s identities and experiences, and standing together in collective struggle.

The ‘love trumps hate’ idea is very white liberalism. It’s also starkly at odds with how the gay male community is so focused on instant visible gratification. I’m still learning how to have meaningful relationships with gay men that aren’t transactional and based on exclusively sexual exchanges. I’ve worked with younger queer people who are just coming out and coming onto the scene and see my younger self in them so much in a way I hope changes. I see them coming into the club and using substances in a way where they have spent so much time isolated and it took them so much work and grit to get to this moment and what this is. For them to get here to be just as disillusioned with the shallowness of how we’re expected to relate to each other is really harrowing! There’s so many beautiful creative, brilliant young people with potential who I see fall prey to debilitating substances due to self-consciousness and unresolved feelings of belonging based on this physical fluid swap culture.

It’s sounds like you’re working on bringing softness, connection, and humanity to a scene where you haven’t experienced a lot of that. I imagine that takes some courage and grit to not succumb to old demons even though I’m sure intellectually you know that type of culture is bullshit.

It’s isolating. I haven’t done drag for very long. Before then I was in punk and hung out with a very intentional/action-driven crew. Most of my friends are women and queer and trans people who are very vocal of their antipathy towards cis men. I’m trying to unlearn that and relearn openness. It’s a tough pill. Recently I acknowledged that I definitely move through the world like a cis man even though it doesn’t entirely feel that way to me personally. A lot of people I am intimate with are cis men and I want to reconnect in a way where I’m not psychologically distorting and writing them all off as toxic.

One of the reasons I started drag is because it often takes place in the gay male sphere. A lot of the gay men I meet still subscribe to poisonous ideas about anyone who deviates from the standard I mentioned earlier. I am somewhat of a black sheep in vocalizing my opinion to say that’s actually kind of messed up. Trying to assert people’s humanity in this context can be exhausting. The whole point of drag is making fun of all of these roles that we’re firmly attached to- including racial caricatures that make me routinely cringe. I’m coming from this context where everyone is trying to be sensitive to these issues, trying to use the correct pronouns, and trying to not step on people’s toes when it comes to issues of race, etcetera; then in the drag sphere we’re encouraging each other to do Asian caricature for laughs, you know? It’s a very different approach to handle complex issues. It’s been a tough transition for me but I can also see its liberating potential.

I’d like to believe it’s not a binary, that you can have this irreverence and levity without making anyone feel really bad, right? That has to be possible. What do you come up against when you’re pushing drag culture to hold more anti-oppressive values?

I’m a special case because I joined the Rice Rockettes, an all Asian drag family. We have a monthly show and attract a primarily Asian crowd, so it feels like everyone’s in on the joke. That feels different than if I were to go on RuPaul’s Drag Race and perform exaggerated Asianness in line with a lineage of images that have historically drawn hilarity to a presumably majority-white crowd- certainly not mine. Taking the audience into account impacts my approach. It’s like code-switching. My drag sisters welcome irreverence and laugh everything off, which I am still learning to do. When I’m hanging out with my other friends, there’s a lot of reticence around that. You’re right. It’s certainly not a binary. It’s a spectrum where you balance the weight of systems with the levity of living. There’s gonna be tons of ways to approach that in between. It’s something I’m still figuring out, case-by-case.

Yeah of course. There’s also can be so much richness when you can find the strength and resources to bridge the gaps. I know what you mean when you talk about a culture of disposability, and feel like there’s a lot of power in being able to connect with people who might not be on the same page as you, but who see you and your humanity.

Totally. When I say compassion, I’m referring to callout culture as well. I don’t have the perfect solution for addressing harm. But it’s come to a place where our micro-culture resembles a punitive church. If you’re not subscribing to this code of beliefs in this specific way and using this specific language, you are blanket problematic and that is grounds for total alienation. The problem that I have with the way that one accountability process happened is that the maligning of character painted this person as inherently fucked up, whereas we should be focusing on his actions and behavior. In clinical social work, you never focus on the person, you’re focusing on the behaviors so they can understand that the issue is not them as people; rather it’s something that they’re doing. Behaviors are perceived as more dynamic than total beings. Language has a way of pathologizing. Speaking of reinvention, we need to reinvent the ways we approach accountability and the language that we use around how somebody can improve themselves or reduce harm.

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Carmen Miranda homage. Photo by Gabriela Hasbun.

I really feel you on that. It’s painful to see all our traumas getting acted out on each other. It’s a conversation I’ve had a million times with friends that still leaves me at a loss sometimes. What do you feel are the things in your life that support you in playing the role you’re playing, and what are the things that feel like barriers to making the work sustainable?

I have a constant internal monologue with looping messages. Journaling and having the time to enact them on paper has been really supportive and is critical for revealing the patterns in how you think. There was a period of time in high school that I kept a journal every day. I recently unearthed a couple of them and realized how dude-centric my writing was — I was very concentrated on if this guy likes me which is arguably typical high school behavior, but it made me realize things about my attachment style and how I found value in myself from others. I see the ghost of it in my writing now, and think about how drag can also become an external validation model. It’s important to be aware of it and see when it’s happening so you can interrupt that cycle and be able to ask yourself more assertively what you’d like to see instead.

I’ve spent a lot of time drinking tea and taking baths and being kind of an old lady. I like going on pinterest and letting myself wander the creative playground of drag — just appreciating the craft of others and getting ideas for new looks. It’s humbling to remind yourself of how big the world is, and on the flip, how insignificant you are. I’m trying to find more international queens who bring something different. There’s this one queen in Thailand my sister introduced me to who finds ways to wear household objects and appliances. She’ll put a Dell computer on her shoulder, a keyboard over her crotch, and just type type types clackity clack clack as she walks an imaginary catwalk. Her stuff makes me happy. There’s also makeup prodigy in Hawaii, Bretman Rock, who is a flaming ball of comedic light. Just remembering to connect with comedy and very brightly burning creatures in the world is supportive.

In terms of obstacles, I don’t want to say finances because I feel like that’s such a San Francisco answer, but… finances! I chose a very expensive craft. Sometimes you can keep the tag on an outfit and return it, sometimes you can’t. I picked up a couple side jobs to support it.

I identify as a multipotentialite, which is based on this Ted Talk I saw once. It means I do a lot of different things. I do drag, writing, film, and music. A significant obstacle for me is being able to focus. This is a world of specialists. When you’re little people ask you, what do you want to be when I grow up? Nobody’s gonna say I want to be a freelance journalist, filmmaker, social worker, and a drag queen. I want to accept the fact that some of us just do a lot of things and there’s no one way to be successful or express yourself.

The last interview I did was with this rad activist/healer/organizer/witchy herbalist person who also brought up that Ted Talk, and talked about stepping into their power as someone who does a lot of different things. The pressure to specialize is a capitalistic idea to have one mastered offering for the world that makes you valuable. I think it’s great you’re interested in and engaged with a bunch of different things! Are there other artists and work you consider as inspiration and resource for your own art and craft?

I’m thinking this drag artist who is a total visionary; her name is Hungry. Her looks are like Rorschach ink blots — extremely surreal and imaginative, like a Kabuki wet dream. I think she’s Asian too which is part of what inspires me. It’s good to see my people getting it in the drag world. Her work is just unreal. She makes her nose disappear; she’ll make multiple eyes and elongate them with these sclera contacts that cover the entire eye. She’s been getting a lot of attention and with good reason. She recently collaborated with Bjork’s look on her new album. Andrew Thomas Huang is another artist who imagines looks or scenarios like dark witchy rituals and fantastical alien creatures playing the flute that bring to life a huge, expansive vision of what you can be. They make this amazing, totally unpredictable artwork. And then a lot of local artists and friends like the writer Nia King, Blue Scholars, FKA Twigs, and my friends Claudia Leung and Muriel Leung. Princess Nokia.

You told me a little bit about the world you want to live in and I’ve also heard you talk about the role you’re playing in helping to get us there. Flashing forward to this imagined world in progress, where there is more compassion and community care and an anti-disposability politic, what role would you play there?

Makeup artist (laughs). I see myself teaching and collaborating. Right now I’m working as a counselor at an arts college. I work with young artists to clarify their visions and to get granular about what they want to do in their field or how to build a bridge towards their broader visions. Being able to help people be their best selves really brings me my light. That’s definitely the intersection where I thrive: on creativity and justice and helping people hone their craft in service of their vision.

I would want to work with youth. Youth are amazing. While they can be extremely honest and cruel and playgrounds can be sites of a lot of pain, they also are so excited about the world. I miss that. I used to teach second grade. Kids that age are so impressionable. Everything they absorb has such a big impact and it feels like such important work.

You sometimes do Drag Queen Story Hour, reading to children and infants. What is it like for kids to witness and engage with your drag self?

It’s been amazing. When I was a teacher, there were a lot of homophobic taunts and insults being hurled around on the playground. It was one thing to be able to interrupt that as an adult authority figure. Teachers have differing philosophies about whether or not they should disclose if they are queer or bring queer content into the curricula. There’s significant stigma around queer educators and children. What’s cool about drag queen story hour is not only is it expanding the child’s imagination of what you can be and giving them different types of queer role models, but I also get to blur that line. I don’t have to sidestep an integral part of myself in order to connect, which is is something I felt was expected of me in the classroom. It’s great to be one of my authentic selves and not have to hold anything back. I think it’s important for them to see.

A lot of gay and safe spaces began at the bars, so a lot of the drag world is very nightlife-focused. It’s also cool to be able to not only be able to bring my authentic self into youth spaces, but also be able to engage with straight parents and queer parents and queer kids or any amalgamation of those. That never happens because of stigma and the historical underpinnings of safe gay spaces. It’s cool for me to be able to interact with kids instead of just drunk patrons. It’s so fun! Sometimes babies don’t really know how to compute. Some will look at me with utter delight and joy and others are terrified and screech.

That’s fair, it’s a lot to take in.

Yeah. I’m essentially a cartoon character to them.

Given that it’s January 1st, can you share any hopes or intentions for the coming year?

I hope 2018 is a harbinger of good things. I want to learn how to listen to what my body needs. Sounds basic, but so fundamental. I have a lot of ambitions and goals in very different fields that feel very distant, and in service of all of these goals, I neglect what I need in the current moment. I want to learn how to listen to and be a better friend to my needs — on the granular, get more sleep and drink more water.

You can learn more about Kyle’s work on her website (don’t miss her powerful political writings), and you will be very glad you followed her on Instagram! This interview is part of a series for The World We Want to Live in.

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Lexi and Devi on the lifesaving power of art & using comedy as a tool to build collective power

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Lexi & Devi at the Trans Life & Liberation art opening April 2017. Photo courtesy of CultureStrike and by Miki Vargas Photography.

What is Peacock Rebellion and who makes up the organization?

Lexi: Peacock Rebellion started out as a queer and trans people of color (QTPOC) arts organization Devi founded in collaboration with other artists/activists/healers. Devi was involved with organizations including Mangos with Chili and other QTPOC arts organizations we’re in community with. Devi used to talk about bringing Peacock Rebellion to a national level. Given the way the political climate has shifted, we’re rethinking our place and what strategies we employ and the ways we’re engaging with the wider world through our art.

Brouhaha is our big comedy show which has run for the past four years. Brouhaha’s stand-up comedy training program has prioritized trans women of color (TWOC) since 2015, with a new sketch comedy training we launched last year that’s open to a broader range of trans people of color. The main component to Brouhaha is forming a cohort of artists and teaching them the basics of comedy and how to utilize comedy as a tool for social justice.

Devi: We started Peacock in part because I was burning out on nonprofit-based community organizing and thought I was more effective with a microphone than a megaphone. With Peacock, our artists can crack jokes, shift cultural perspective, and disrupt the status quo through entertainment. A lot of people who wouldn’t necessarily be down to come to a march or a protest would be totally down to come to a comedy show.

Everybody in the artistic core has some kind of healing practice. Everyone is an activist, a community organizer, healer, cultural worker, and an artist. A friend of ours made a shirt for the last Brouhaha that said “Sass Heals.” That’s totally us. We do snarky, sassy, sexy, subversive work, and talk about white supremacy, christian hegemony, anti-Black racism, and structural oppression without jargon or talking down to people. We’re able to get 800 people to a show on a Tuesday because a lot of folks are willing to want to come be entertained, and we’re like, oh we’ll entertain you, and you’re gonna come here and learn some shit.

We use the art to get people into a room and then they will be invited to show up to do court support for trans women of color, they’ll get talking points around Thankstaking. Folks who are going to sit at a dinner table with their families who have different political perspectives, and we want to equip them with resources. We want to get our people practical tools. So we have a guide to low-cost mental health support services for queer and trans people of color and other rapid response guides. We do healing justice clinics for free. Lexi started a program along those lines last year.

Lexi: We got some funding to have a cohort of 20 people, primarily trans folks of color, go through four months of training workshops on empowering advocacy skills. We were able to pay them to participate. We oriented folks on the court processes for legal name and gender change documents; we had a self defense workshop, we talked about navigating the medical industrial complex, street safety, and intervening in street harassment. Now there’s 20 more folks out in the world who have those skills. After 45 got elected, there was a big surge in community clinics to get trans folks name change forms done. A number of participants in the program went on to help Transgender Law Center and St. James Infirmary organize some of those. It was great.

Devi: We just merged with one of our sibling organizations, a QTPOC makerspace oriented toward social justice. They’re now a program of Peacock. Now we run free maker days every month. QTPOC can come learn how to make zines, make videos, use 3D printers, all kinds of stuff, on social justice themes.

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From left: Devi Peacock, Brouhaha artists Elena Rose and The Lady Ms Vagina Jenkins, Lexi Adsit. Photo by Lance Yamamoto for the East Bay Express.

Did you always imagine that Peacock would have all these elements of different programs to support folks in navigating the world in legal and social spheres, or is this something that’s happened organically?

Lexi: With our artists, it wasn’t just about artistic development, but also showing up for everybody as holistic people. Most of our job is actually emotional labor — showing up for folks when they’re in crisis and making sure that we’re all alive next week. We feel if we’re able to acquire the resources to provide those extra services, we should. We’re getting back into thinking long-term and constantly referencing adrienne maree brown’s Emergent Strategy book and concepts as our new compass.

What is it like for you as people who are facing violence and oppression, and also holding a lot for the community in terms of offering support?

Lexi: We’ve been thinking a lot about the politics of recognition and visibility, and knowing that everybody who’s participating in the organization is a QTPOC dealing with some degree of mental health atypicality, whether that’s anxiety or depression or the revolving door of ideation.

Both Devi and I had intense instances of burnout within nonprofits which led us here. For me, something that counteracts the burnout like an anti-inflammatory is being able to create art. I get to do that at Peacock. Creating is part of my job. You don’t learn how to take care of yourself  in a staff position at a nonprofit. Everybody talks about a work-life balance, but there’s no tools or training on how to actually do that. Devi and I also have roles as emotional supports for people, which is not a completely draining thing, it’s something really special I get to offer for folks who I care about. At the same time, I know it means I have to take care of myself to be able to show up in the best way for this job and for other people I’m taking care of.

Devi: I work at Peacock 60 hours a week until busy season; then it ramps up. For four and a half of the past five years, I didn’t pay myself; I had paying gigs outside of Peacock. Starting in January of this year I started paying myself and having health, dental, and vision. The pay is terrible but it’s what we can afford right now.

The power of art is very real. We are working on keeping ourselves and each other alive. We’re trying to get people out of dangerous situations. I’m not great with boundaries around that. We’re starting to shift and incorporating the Emergent Strategy framework. Part of it was saying no to a whole bunch of bullshit. We moved from a broadly QTPOC arts organization into a lot more trans women of color and transfemme of color centered. Suddenly we became a shiny, sexy organization. We get hit up at least a couple times a week if anyone wants to find a token TWOC to throw into a show so they can check off a box on their grants. I’m getting better at saying no which is helping so that we can focus on building our collective power.

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Brouhaha 2017 producers Devi Peacock, Lexi Adsit, and Vanessa Rochelle Lewis

But we’re not a collective. We’re largely collectively-run, but there is a hierarchy; I am the boss. Like Lexi was saying, a lot of people come into the organization burned out and struggling after traumatic experiences at nonprofits. Some folks come here thinking it’s a magical utopia. But it isn’t perfect. We’re still a project of a non-profit, we still have some tap dancing we have to do for funders.

But I really, deeply believe in this dream. Part of my original intent was that we would focus on building collective power, not individual artistic careers. We’re hoping to use art to build cultures of collective liberation. To do that, we think it helps to weave art and cultural practice across our work, instead of disconnecting it from healing or from community organizing. It’s all connected.

We have a touring production in February in Austin with a new show called The Femmes of Your Dreams. We’re dreaming futures with femmes at the center. We’ll be using stand-up comedy to talk about mental health and sexual violence and all these things. We’re going to write ourselves into the future.

Lexi, you mentioned art as something that helps keeps you going as you’re facing whatever you’re facing and also holding so much for the community, and Devi, you mentioned it as being a core value of the work that Peacock is doing. Can you say more about the impact of art, both on folks in the cohort and people who get to experience Peacock’s work?

Lexi: Something we always say in the trainings is, comedy is tragedy plus time. I came into this organization with a lot of tragedy. It’s like therapy. People are listening to you and validating you. There’s something strangely intoxicating about being on a stage and talking about the shit you’ve gone through and being able to challenge systems of power through a smart approach. The shows have covered navigating the medical industrial complex and Kaiser support groups, dating and how problematic it can be…

Devi: Intimate partner violence, being physically attacked, surviving sexual violence, surviving a lot. But then there’s also been things around dreams. Like, what are people wanting for themselves and for each other?

Lexi: We’re able to collectively turn those traumas into a moment of laughter. Being able to address these topics helps heal not just our artists but also the audience. Mainstream comedy can be so problematic — racist, sexist, or whatever. In mainstream comedy, the purpose is often to get a cheap laugh, often through making fun of fat folks, trans folks, homeless folks, poor folks, and that’s not what we want to perpetuate or participate in. I’ve heard from so many people who’ve attended Brouhaha that it’s actually funny, because we’re not making fun of somebody who’s sitting in the room. Though occasionally we make fun of white folks.

Devi: But we’re very careful about it, right? We want to use it to actually challenge white supremacy. We’ll link our jokes to something that’s a structural issue. At the end of the day we are trying to come from a solidarity framework. Part of what Lexi’s talking about is the absence of the “punching down” stuff. We use the BDSM red light/yellow light/green light system in our training programs. Red light means you’re punching down and saying some shit that’s not getting on our stage. A yellow light is either punching across or it’s just not funny enough. We recognize that all the artists are trans women of color, but if the audience is not largely TWOC, we want to be conscious about who is the listener. We want nuance and strategy. Our goal is to have jokes and comedy sets that are all green lights. Green lights actively punch up at the system. We go hard. I want to live in a world where we’re tearing out patriarchy at its roots.

We also want to be able to poke fun at ourselves around these things. The Bay Area can be a little bit of a bubble, it’s like the island of misfit toys. A bunch of people including me came here to run away from trauma. We’ll make jokes about everything from callout culture to isolation or disposability. In a 90-minute show how can we get people to love each other a little bit better and then actually organize around it? That’s a guiding question for our work.

What is the world you wanna live in and what do you see as Peacock’s role in creating that?

Lexi: At the root of it I want to live in a world where we WANT to live in. I want to live in a world where we’re not being exploited and where we are able to create for everybody’s survival. I want to live in a world where everybody can dream, not just those of us with enough privilege and access to do so. I want to live in a world without targeted violence and poverty. I want my work to build collective community versus building my own career — reflecting those collective communal knowledges, herstories, and ancestors and trying to remember that these things are bigger than just me in this moment, and paying homage to that.

Devi: In the world I want to see, people are good to each other and there’s space for messiness. I believe that people are always gonna harm and hurt each other. So what are the ways that people can actually take accountability — individually and collectively? For me, I think of a village model, like, hey actually everybody raises the kids and everyone is accountable to each other and we are in circle together. I’m imagining a world where instead of such a hyperfocus on extracting resources we’re like, oh how do we actually listen to the earth? What does restoration of the earth look like? I’m curious about that. What can global indigeneity look like?

Everybody deserves free access to culturally competent care, love, and basic human needs. As for Peacock’s role, I want Peacock to exist for as long as we are useful and relevant to the people we need to serve. Peacock is here to serve. That is our work. Like the Allied Media Projects’ Network Principles, we begin by listening. I want a world where everyone begins by listening, and there’s a lot more empathy for each other, and there’s real frameworks — practiced, taught, and learned — across generations, around solidarity. Not the savior complex, not any of the other bullshit. I want a world where love is emergent strategy, for everyone.

Would you be willing to define Emergent Strategy for people reading who might not know what that means?

Devi: Yeah! I’m actually gonna pull it up from the prophet herself because I like her words. She writes that it was initially a way of describing ‘the adaptive and relational leadership model under the work of Black sci-fi writer Octavia Butler and others. It turned into plans of action and practices, collective organizing tools, and linked into biomimicry and permaculture.’ Emergent Strategy is a leadership model that prioritizes relationship. Relationships are actually what fuel radical structural change.

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Peacock Rebellion Aristic Core 2016-2017, clockwise from top left: Q Quintero, Lexi Adsit, Devi Peacock, Luna Merbruja, Vanessa Rochelle Lewis

At Peacock, one of the things we’re trying to shift around is productivity. We’re whole beings. How do we support each other? Last fall we essentially shut the organization down for a month because someone close to us was in crisis. That’s the scale we need to operate in: being flexible and adaptive and resilient is a fundamental of emergent strategy. We do pick and choose what are the relationships we want to cultivate and who do we want to build with.

We turned five two weeks ago. Within five years, we are part of a campaign that has bought a building and the land underneath. It is the last QTPOC block in Oakland and it’s the first time in U.S. history that QTPOC have been able to do a hybrid commercial-residential land trust. We’re a major part of that. We have the first TWOC show in U.S. history, and not only the artists are trans women of color, but also the trainers, the producers, and the majority of the production crew are trans people of color. We’ve been able to do the the things we’re able to do because of the relationships. We are not doing mass-based organizing. We get targeted by hate at least several times a year, sometimes several times a month. We would not be able to survive the PTSD from a skinhead coming to our door and holding sharp shit up to my neck if we did not have very strong, deep powerful networks of relationship. We build a lot deeper than we build wide, which is an important distinction. I want us to eventually become a national organization if that makes sense, but it cannot be led by a handful of people in Oakland. We have to listen to leadership of the people on the ground and if they want it, we can build something together.

I appreciate your shout out to adrienne maree brown. Are there other people or bodies of work who are inspirations you’d like to name?

Devi: Neither Lexi nor I are Black — I want to call into the space the collective brilliance of the Black queer and trans folks who have significantly shaped Peacock. The majority of our artists and trainers are Black folks, which was intentional in challenging anti-Black racism in QTPOC spaces. I want to lift up Micia Mosley and Nia King, who developed the first curriculum for Brouhaha in 2014. Nia also has the podcast We Want the Airwaves and books interviewing queer and trans artists of color. She’s a living historian of queer and trans artists of color. 

Lexi: There’s an advisory board of elders that oversees Devi and holds them accountable to community and the work that we’re doing. A number of those folks are just really amazing and involved with the organizations we were birthed out of. Most of what they do is emotional labor too.

Devi: I want to shout out Vanessa Rochelle Lewis. Luna Merbruja, who’s in our artistic core and who was our first trainer for our all-TWOC show. We’ve worked with around 65 artists over these five years. That’s a shit ton of people who’ve all led Peacock in different ways. We were birthed out of Mangos with Chili, Sins Invalid, QWOCMAP, and Poor Magazine all gave us a lot of support in thinking through what Peacock would eventually become.

If you enjoyed this interview, learn more about Peacock Rebellion and consider making a donation. You can also visit Lexi’s website to watch her standup and read her writings. This interview is part of a series for The World We Want to Live in.

Lindsey on visibility, being vocal, & uplifting Black and brown talent

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How do you identify yourself in the world?

I identify as a creative, an artist, a musician, and a social activist — but I feel like I never really had a choice in that ‘cos when you’re born into a certain type of body there’s a need to carve out safe spaces and equal access. I’m an empath. I feel some folks have difficulty caring about experiences they don’t share. When I hear youth I work with talk about how they can’t focus their first day of middle school because they don’t know if their mom or dad will be there when they get home from school because of the ICE raids that have been happening. That makes me feel like I gotta do something, even if I’m not sure what that is.

It sounds like there’s a lot that compels you to be engaged in the work that you’re doing. Did you have examples of that growing up?

My mom is a persistent go-getter. She worked a bajillion jobs so that me and my three brothers could thrive. I remember her saying, I want you to have every opportunity so people with different privileges can’t make you feel they have something you can’t access. I get my independence from my mom — trying and saying yes to so many things. The hard part about that is, I feel my mom doesn’t know how to ask for help when she needs it and I saw how this negatively affected her mental health. I ask myself, are you checking in with yourself? I can’t be running around ’til my body can’t go anymore. It’s not sustainable. I’m getting better at saying no. With theater, people were always asking me to stage manage stuff. But when I stage manage I can’t play music, ‘cause I’m not getting home until midnight and drumming is loud! Once I set some boundaries and requested music-related roles in theater instead, it started to happen. I’m living in this space of realizing the worst thing that can happen is someone says no. Hearing no stinks but I would be so much more pressed if I didn’t bother asking.

I’d love to hear about creative, personal, or political projects you have going on right now. What’s on your mind?

I’m working on putting together a soft punk style zine, which my friend suggested because of what I post on instagram. It’s geared towards Black and brown gender nonconforming people. There aren’t many resources for gender non-conforming Black and brown people to talk about dysphoria and what kinds of clothes could feel good.

I drum in a band called Hula School. Drumming is really fun and that in and of itself always feels like an act of resistance. I get to hit stuff in time to music and it’s cool.

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photo by Nina Corcoran

I went to Pitchfork Music Festival to take photos for Tom Tom Magazine. I am the web manager for the magazine which focuses on music, art, and more recently, politics. I’m focusing on getting more gender non-conforming and Black and brown people to write and be be featured on the website. They’re doing a good job at it now but there could still be more. I wrote a piece about how to move forward post-Women’s March. Because I’m just like okay that’s cute, but also there were a lot of things that were hurtful and here’s why. It’s nice to write a full narrative instead of a thread on twitter, like 👏🏾 this 👏🏾 is 👏🏾 why 👏🏾 this 👏🏾 blows!

I’d love to hear you talk more about putting your voice out there. There’s vulnerability in doing that publicly. What about that felt empowering and energizing, and what felt hard?

I took the time to let people know that this is the first step to make more inclusive events. Me in 2010 would have never thought using body parts as a signifier of what it means to be a woman would be upsetting to folks who don’t relate to that experience. It was empowering to know there were so many people reading that otherwise wouldn’t have thought beyond their own experience.

What was kind of nerve-wracking was you never know how people are gonna react. I was like, oh my god, am I gonna get like hate mail? People get in their feelings. Then I thought about how there are people who are gonna be mean to me just ‘cause and I quickly made peace with the fact that some people may not like the piece. I got over wanting to be liked by everyone a super long time ago. I’m proud of myself for that. I believe if no one’s peeved, you’re probably a little bit off. I got energized from that. I’m like, ooh, this could make someone pissed. That’s kind of cool too.

Can you say more about drumming and making music as acts of resistance in and of themselves?

I have always been interested in percussion. In middle school we had to take either band or choir. I didn’t want to do choir because I felt like everyone was expecting me to sing. I want to do band and I want to do something percussive. But I got stuck with the fricking clarinet! My teacher didn’t really know how to play it or how to teach me. I almost failed that class. After that I figured I’d do choir for the rest of my life. I didn’t know how to get access to learning how to play percussion and didn’t have any Black women role models who drummed. It wasn’t until I did Girls Rock in 2013 when I realized I can do that. After that I finally started drumming lessons. I picked it up fast. I was like wow, this is what I needed for all those years.

This week I came back to Girls Rock and there were so many more Black and brown girls which made me so happy. A young Black girl saw me sitting on the drum thrones. She looks at me and she’s like, I didn’t know black girls could drum. I told her, absolutely, we can do anything we want. She’s like, ohhh. There are still so many Black girls and Black people that feel that way; feel that there are experiences and feelings we’re not allowed to access. One reason I did Girls Rock this session is because they need more Black and brown representation in the program, so I’m like, let me roll in real quick. I’m so glad I did. Just the conversation with that one young person, she now realizes that she can drum too. I was that girl.

Being visible in music is important. A lot of people praise the Boston music scene, and it’s great, but it’s not really representative of the people that live here. A local music journalism magazine called Allston Pudding was uplifting the same generic all-white-dude bands every week. When they said they needed more writers, I’m like, okay, let’s do this. Black and brown percussive representation in Boston exists, but no one’s making the trek outside of their bubble to access it. I’m excited to start writing for them and bring new content to their website.

We met at a few years ago at an LGBTQ theater company that at the time had mostly white leadership. I’m hearing from your experience of going into Girls Rock Camp and starting to write for Allston Pudding that part of what you’re doing is infiltrating dominantly white organizations. It seems like that must be an intentional choice because I imagine it comes with its fair share of bullshit.

Oh yeah. I got so tired of seeing all these white people prospering in mediocrity. I love music and art so much but people are still not making space. Folks say they want to make space for voices other than their own, but they stay in their bubbles. I’m excited to infiltrate even though it comes with nonsense. I don’t put up with it anymore. I’m asking the hard-hitting questions they need to hear and won’t if I’m not there.

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Photo by Nina Corcoran

On an emotional level, what are you’ doing to fortify yourself around experiencing that nonsense?

I consume a lot of television where the majority of the cast are Black and brown. Instagram is therapeutic for me as well. I love watching videos of skateboarders, and tutorials with rad Black makeup artists where they do their makeup and slay their hair. When I don’t have the capacity for social media, it’s skateboarding, napping, and pizza. Thankfully connecting with the people I live with is a form of self-care. I feel grateful to have access to so many different forms of caring for myself.

What role does community play in your life?

People in my community are my biggest cheerleaders and they plant seeds I never would have thought about. Without them, I would never have pursued a lot of the things I’m involved in. I never expected I would be a part of a community outside of my family.

A lot of the things I do weren’t served to me on a silver platter. Growing up, I thought all I had access to was sports because my mom was such a sports fanatic and my brothers did sports. Then I was in my first school play — the Music Man — and it was fun but I didn’t know how to pursue that interest further. In high school I did a performing arts program that involved acting, musical theater, and stage management. I went to school for theater before realizing I wanted to integrate social justice into the arts. That’s when I got the internship [at the aforementioned LGBTQ theater company]. It was cool, but after some time I didn’t really like working at a white-run organization that focused on serving people of color and yet weren’t receptive to feedback from the folks of color on staff and in the community. I bounced to infiltrate different spaces that would be receptive to hearing what I have to say around making things more inclusive.

It seems pretty special to be able to integrate the arts to engage in social justice and to build a better world. I feel like those things are really compartmentalized for a lot of people. On another note, I know that there’s bad news all the time; I’m also feeling aware that the news out of Charlottesville last night is really intense. [Note: we had this conversation on August 13th, a day after a protestor was killed at the white nationalist rally in Charlottesville]. Broadly speaking, how are you doing?

Honestly, I’m doing great. This is upsetting, but like most people of color have been saying, none of this is surprising. This has been around for so long but people weren’t affected by it unless they were Black or brown, so they’re just like, that only happens in the south, love wins, blah blah blah. I’m just like fuuuuck, no. There’s a map of all the 900+ active hate groups in America. I was like wow, that one is in the neighborhood I grew up in. That one is a T ride away from my house.

It’s a rollercoaster, it’s an I told you so, it’s a where have y’all been? When stuff like Charlottesville happens, everyone’s upset, then after a week it dies down and people forget about it. Charlottesville is happening every single second of every single day. I’m interested in seeing the trajectory of people’s’ desire to combat this. It’s hard to be optimistic. My mom recently talked to me about having kids but I don’t feel comfortable bringing a lil’ Black bundle of joy into this nonsense. I don’t want them to ever have to feel like they don’t have the space to be themselves because some white boy in their second grade class called them a n*gger because they wouldn’t share their crayons. I would be fighting kids and I can’t do that.

It was difficult to unplug yesterday because you get into this cycle of scrolling, scrolling, scrolling, and you’re like, omg stop! Sometimes I feel weird leaving my house. I feel weird seeing white people on the train. Sometimes I can feel people calling me a slur. Living in east Boston and watching it gentrify so quickly is upsetting and sad. Sometimes I sit down and I’m like, jesus christ, is the world ever gonna look the way I want it to look? Is it ever gonna be safe and secure for me to have some little Lindseys running around? Most of the time I just don’t think so.

What does the world you want to live in look like?

The world that I want to live in looks like people having the space to experience the things they want to and be who they want to be. Where they can decide day-to-day what pronouns feel good and people are just like, ‘yeah sure absolutely!’ That’s the world I want to live in, where people are like, you wanna try something to live in your most comfortable self? Absolutely, do that. I want to live in a space where bathrooms are gender neutral and you’re not stressed about trying to pee.

I want to live in a space where basic human needs are free. It’s bullshit that people have to pay for housing and food and being able to get around to their jobs. It’s wack that people have to work so many jobs just to get by. The wack ass sexual health stuff taught to young people is bullshit. I would live in a world that’s not heteronormative. I want to live in a world where talking about mental health is normalized and people have access to therapy without going broke. I would love to live in a world where people aren’t working to live but because they want to.

I just want to live in a world where people can feel comfortable because there’s only a portion of people in the world who feel comfortable just living and that’s fucked up. There are so many people who are born and don’t even know the amount of discomfort that’s in store for them. We’re not here for that long, and it blows to have people be uncomfortable for so much of the time they’re here.

Your world sounds good.

Thanks. I definitely think about it a lot. If I had one wish I would have to make it into the biggest run-on sentence of my life but it would be worth it. I have to perfect that run-on sentence.

What do you see as your role and your work in helping to create the world you’re describing?

My role is visibility and being vocal. A lot of people like to hear what I have to say, whether it be purely comedic or about a social issue that’s been bugging me. I love being vocal about the media we consume. I watched this trash show on Netflix, Blow, which is about televised women’s wrestling in the 80’s. I didn’t understand what people saw in it. They had super racist character names that weren’t even historically accurate. I’m like wow, y’all really tryin’ it. I have a problem with period pieces because it feels like being able to say racist things is literally why some folks pick certain time periods. I was tweeting out my thoughts and feelings about the show and one of my friends was like wow, thank you so much, this is gonna help me better engage with media and think about why I like stuff. I’m glad that me yelling about how extra this show was was helpful for them. I love making sure that myself and others are active consumers of media and that when they make media, they’re not perpetuating the same issues we see in current TV, movies, and books.

Being visible in art spaces where I’m not usually seen is also very helpful. I know for the kid I mentioned earlier, seeing me at Girls Rock was helpful for her to understand she has access to everything. I know that me pursuing things I’m passionate about is making space for others to do the same. I’m excited to not be the only one or one of a few. With all of my self-care and with my community, I feel properly supported emotionally and spiritually to put myself in these heavily white spaces. Having support systems and community I’m just like, (gasp) I have a safety net to catch me while I scream about stuff! Then after I’ve screamed, I can come back and make an informed piece, like the one I did about the Women’s March. I screamed all day, took a nap, and when I woke up I started typing.

It seems like you’re really coming to everything you’re doing as a whole person and giving yourself space to feel the frustration and anger and then kind of being like, okay, here we go.

Writing has been really helpful. It’s great in terms of expanding my vocabulary and making accessible pieces folks can wrap their mind around. Sometimes I read some stuff where people are using all these big words for no reason. That’s one of the things that can be scary for people trying to get information. Everyone learns and ingests information differently. I feel I’m good at sharing information in an accessible way. Instead of speaking from a heady academic place, it feels more like a conversation and not, let me tell you about this👏🏾because 👏🏾 I 👏🏾 know👏🏾 everything! 👏🏾

As someone who’s so immersed in the music and arts world, I would be remiss to not ask you about the music and art that’s inspiring you right now.

The music that’s inspiring me is still A Seat at the Table [by Solange]. That entire album is so open and unfiltered. Her vulnerability and her want to take up space with her Blackness and her strangeness resonates with me. I’ve always felt strange. I always felt like my nerdiness and my weirdness never mixed with my Blackness so Solange is inspiring to me. She shows me that all of these things about myself can live in the same space as my Blackness. Seeing that there’s no limit to what Black is has been really helpful.

I really like the new Tyler the Creator album. He made this really beautiful, soft record I never would have expected in which he talks about his queerness. He always rubbed me the wrong way and I perceived him as really aggressive. Naming his album Flowerboy and having the cover be an image of him standing in a field of sunflowers is really lovely.

I really like the new Downtown Boys record. I’ve always appreciated them because seeing people of color in punk is so inspiring. I love punk music but the community is so white. Whenever there’s something musically and culturally cool I figure it has to have been lifted from communities of color. There’s no way in hell that this isn’t something a community of color put together as a form of self care, visibility, and being able to play music really loud. 

I’m going through all of the old R&B and soul my mom would play. Every single Sunday I wake up, wash my face, and listen to Sade. I have been getting into Chaka Khan’s deep cuts after growing up listening to the notable hits that most folks know. I love seeing black women taking up space in music. It shows me that the limit does not exist. There’s still so much space to take up and I’m moved to take up that space and I’m excited for the little girl I talked to at Girls Rock Camp to take up that space too.

Is there anything coming up for you in course of this conversation you feel like sharing?

In terms of taking stock of what my focus is and what I’m focusing my time on, this conversation was really invigorating. I was feeling like I just wanted to sleep for a million years, but now I can’t wait to go home and practice drums, I can’t wait to write things. Talking through stuff is a form of self-care. Sometimes I get caught up and don’t feel like my work is making an impact. Then I talk about it and think about the bigger scheme of things and remember there’s someone, somewhere who will read this and it’s changing the way they’re going to think. I want to show people that all of the things that live inside them can work in harmony. Just because you’re one thing doesn’t mean it lessens this other thing that also lives inside of you.

I’m interested in seeing the ways in which art is gonna expand. So many people are feeling empowered by A Seat at the Table and a lot of other records. Seeing Issa Rae come from Youtube and now have Insecure on HBO empowered a lot of people — so many more people of color are taking the time to make web series and tell their stories on Youtube. That’s what I think about when things are looking so bleak. I look at the art that other people of color are making and I’m just like, okay, maybe it’s not the MOST bleak and maybe we can make it to the other side.

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You can find Lindsey Anderson on Instagram @snackkween. This interview is part of a series for The World We Want to Live in

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

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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.

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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.

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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