As an artist exploring themes of Afro-futurism, I am deeply interested in how Afro-diasporic gestures transcend time by operating within and out of interactive-visual-musical stimulants (e.g., social media, perverse digital underbelly/augmented reality). My research of these modes feeds my nostalgia for the American South and unknown ancestry. I see this route as a way to pave a clearer understanding of how the future of Blackness and narratives of Black folk are shaped by how we interpret past histories and experiences, especially in how the ever-developing ways algorithms present the Black body. Through this continued theatrical research, I want to tackle the ever-growing post-displacement Black narrative within an environmental struggle. By this, I mean the many Black stories told by Black folk during and after the Trans-Atlantic Slave Trade and European Colonization, which make up most of our understanding of Black consciousness presently. These histories are the core of why I create performances, as I aim to produce intersectional (within Academia, Womanhood, Blackness, Movement, and Spirituality), genuine, fact-centered work that adds purposeful commentary to social conversations of a possible futuristic landscape. I strongly promote academic, urban, and oral sources as an entry point into heavily emotional and triggering themes (e.g., alienation, liberation, digitalization, mutilation, and futuristic landscapes). The majority of media within my performance practice is sourced through digital and personal archives utilizing social content apps like TikTok and Twitter. I incorporate popular dance styles and trending audios into my performances as a means to embody and respond back towards the mediated, digitized Black experience. To an audience, I ask: Do you recognize this sound — how about this movement — what does it mean when I say “imma take yo nigga”? I wonder if recognition can invite audiences to participate and offer their own reactions into the performance space and inversely see the work within their world. I lean into comedy and over-expressive theatre to render my world more arresting and liminal.