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. 

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“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"

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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....

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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.