So part of this project emerged out of me as an organizer and a revolutionary working primarily around stopping the prison industrial complex and moving out of that using art to kind of free my mind because there's not a lot of victories in the pre-IC, right? Because the system is set up to maintain its carceral system control. So I don't get to see a lot of abolition happening in my line of work, right? So I need it ways to move through that and keep resisting and trying new things because the idea of abolition is of what? New thing is, according to the normatives of this society, right? So every day I engage in anti-art, a violent system that is directed at suppressing my imagination to perpetuate the imagination, the myths of the colonizer who will benefit from me thinking about myself and the world from his perspective, right? Am I the only one? No? Okay, good. So to try to subvert that through the art, I'm trying to see what we can do outside of the normatives, again, to address the question of absurdity, first starting with the absurdity. Police killing children is absurd. That's just absurd. That's not normal. That's not a normative, right? The fact that right now, black women are the number one population being evicted. And so the questions that I'm raising or attempting to raise when I'm interested in is, how do we subvert the absurd? Right? Why are we addressing the absurd, which is how we are living, particularly those of us who are black and are rooted, our whole experience is rooted in anti-black violence. Why are we responding to that as if that is logical and sane? Why aren't we responding to that in the same way that we respond to absurd events and flip the script? And so the opera is an attempt to, you know, how do we like pull on our imaginations to redirect our everyday experiences? The full piece is called Echo Hybridity Love Song for Nola. And I've identified this concept or created a concept called a visual opera. The opera is composed of music, choreography, visuals, film, sculpture, and guerrilla theater. And when I went to New Orleans right after Katrina, I made a commitment to that Earth that I was not going to let this space not be marked and recognized because it was harmful. This is a, this is a, a triptick. This piece is largely contributions from 15, specifically 15 black feminists in Nola in New Orleans who are going to be working on the opera. We began a couple of weeks ago of building an altar. The first piece is comprised of objects, nature, found objects, and donated objects, and family heirlooms that are represents black women's resistance. And if you look, you have to look at my work kind of intricately because there's always something I try to play with ideas a lot. And you symbols to do that. So for example, she has Walmart panties that have cotton in them. So what are we saying here about black women's labor? You will see in her intricacies different, like it says, signs, symbols, and offerings that represent our history, particularly black women's history, in terms of New Orleans specifically. I think of them mostly as domestic workers. So you see a lot of symbols around domestic labor. There's a plot. And the story is that there was once a group of free birds who were in search of home. And they could not find, home was not recognizable to them. And so they are in search of home or to recreate the idea of home. The final opera will be a roving performance and installations in various locations throughout New Orleans. The group of black feminists I'll be working with are focusing on the movements. These are abstractions of some of the movements. This piece is movement one. Welcome to the subversive ball. This is movement two. And this is called, is this intentional sub-traffuge question mark? And this is the last one that intrigues me. I mean, they are, but this one kind of really gets me. I don't know what to mean. Bodies without organs, which is a title from Deluce. Each of these movements will start to take shape through installations. I'm doing the prelude, which is Aria of the Hybrid Revolutionary, Madame Sin and Cofus things of the blues. And I'm doing the Coda, the after, and that is called WWFD, what Wiff and Andu. And so I'm trying to really think about this idea of transformation from a post-colonial idea, location. And using art as a mechanism to help us think from a decolonial location.