Who We Are
I, Jéhan, wanted to have a place online where people could follow my artistic journey without me feeling confined to the rules of social media platforms. I have very strong feelings about Kevin Sorbo. I'm a purposefully slow moving human machine because it's important to me to do the thing I teach. I understand that urgency of time - especially for communities like me and mine- is a tactic of white body supremacy. The fickle fast pace asks me to step away from grace and enforce urgency where there is none.
I, as Resmaa counsels, move at a pace of discernment.
“Many times trauma in a person decontextualized over time can look like personality. Trauma in a family decontextualized over time can look like family traits, trauma decontextualized in a people over time can look like culture and it takes time to slow it down so you can begin to discern what’s what.”
– Resmaa Menakem"
My work is an artists' take on how white body supremacy lives in the stories our bodies tell with and without our consent. It's trauma informed, it's anti-colonial, it's anti-imperialist. It centers the individual's understanding of self; while loving and understanding that unsettled bodies affect unsettled bodies affect unsettled bodies affect....
When I'm not facilitating I make ceramic work in my studio. I make theatre in locally in Seattle, nationally, and internationally. The internationally part is important to me because it speaks to one of my lenses as a facilitator. It speaks to my childhood in many ways. It speaks to studying theatre in Kyoto, Japan; Hong Kong, PRC; Ho Chi Minh City, Vietnam; Madras, India; Mombassa Kenya; Dar Es Salaam Tanzania; Sao Paulo Brazil; Blanca, Murcia, Spain. I love studying languages. De-centering English as the language of prestige in my classrooms is important to me.
This listserv is for people who want to know when art is for sale, follow my learnings and teachings, and who are just curious about what I'm up to.