MY FILMS.
As a filmmaker, I use the camera as an extension of my choreographic intuition, treating it as an active collaborator rather than a passive observer. I blend original footage and archival materials to reframe history through embodied experience. Guided by Africanist Aesthetics, my editing process embraces rhythm, repetition, and improvisation as cultural tools for reimagining narrative and time.
Each gesture, cut, and choreographic choice becomes a form of (re)membering, a way of gathering what has been obscured. Through the body, I stitch together traces of history not held in formal archives. These choices become seed archives: small, intentional acts of memory that regenerate images and allow ancestral presence to take root and grow in new creative contexts.
My films center Black joy, grief, and resilience while challenging dominant narratives. They create space for BIPOC, queer, women, and femme artists to be seen and heard on their own terms. For me, filmmaking is a practice of deep listening and collaborative care, where movement, memory, and image converge to create new ways of seeing and being.
Each gesture, cut, and choreographic choice becomes a form of (re)membering, a way of gathering what has been obscured. Through the body, I stitch together traces of history not held in formal archives. These choices become seed archives: small, intentional acts of memory that regenerate images and allow ancestral presence to take root and grow in new creative contexts.
My films center Black joy, grief, and resilience while challenging dominant narratives. They create space for BIPOC, queer, women, and femme artists to be seen and heard on their own terms. For me, filmmaking is a practice of deep listening and collaborative care, where movement, memory, and image converge to create new ways of seeing and being.
