Blueprints for the Afrofuture with Ruby Smith Díaz

2023

In this iteration of Blueprints for the Afrofuture – an AGGV programming series curated by Kemi Craig – Ruby Smith Díaz joins Kemi via Zoom to share more about her soundscape, titled Living Freedom, that was recently shared with visitors during an event called Portal to the Afrofuture!

Listen to an excerpt from Ruby Smith Díaz’s soundscape, and learn more about this immersive piece blending the past, present and future of African diaspora peoples. In the recording the artist layers melodies from a kalimba, an instrument Indigenous to the African continent, with words from award-winning author Robyn Maynard, and children of African descent from ARC Community School. The soundscape speaks of the disproportionate impacts of the ‘justice’ system, to the realities facing Black children today, and the everlasting legacy of love and protection from our ancestors to help us live freedom.

Ruby Smith Díaz would like to extend a special thanks to:
-The children, parents, and caregivers at ARC Community School on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) people (Vancouver), for allowing her to spend the afternoon reading Mariame Kaba’s book Missing Daddy, and discussing the impacts of prisons on our communities. Their voices and their affirmations are the future.
-Robyn Maynard for lending her voice to this piece, and for her ongoing contributions towards documenting Black histories in so-called Canada, and the disproportionate impacts of the ‘justice’ system on our communities.

Learn more about Blueprints for the Afrofuture: https://aggv.ca/curatorial-projects/b…
Learn more about Ruby Smith Díaz: https://tierranegraarts.ca/about-ruby/

The Art Gallery of Greater Victoria is located on the traditional territory of the lək̓ʷəŋən speaking peoples, today known as the Esquimalt and Songhees First Nations. We extend our gratitude and appreciation for the opportunity to live and work on this territory.

Video editing by Marina DiMaio.In this iteration of Blueprints for the Afrofuture – an AGGV programming series curated by Kemi Craig – Ruby Smith Díaz joins Kemi via Zoom to share more about her soundscape, titled Living Freedom, that was recently shared with visitors during an event called Portal to the Afrofuture! …

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Autogenerated Transcript from YouTube (if available)

Use CTRL+F to find key words if it is a longer transcript​.

0:01

foreign we actually have a line that we do at our house we practice this thing what is

0:08

it

0:13

I’m eight years old I’m unarmed and I have nothing that will

0:20

hurt you

0:26

okay you ready [Music]

0:39

um the anti-black racism within our school

0:45

system can be measured in a number of ways but one of the most troubling examples is what’s referred to as the

0:51

school to prison pipeline that is when black youth face more discipline and harsher penalties in schools than white

0:58

students as a result it puts them in direct contact with law enforcement and

1:04

potentially sends them down the wrong path and through the justice system

1:10

[Music]

1:18

well I’d like to open with a territorial acknowledgment um we are gathered here today we’re

1:26

gathered virtually and so we’re kind of

1:31

operating today across I’m in space we’re in different areas I’m coming from

1:38

the liquid and wet Spanish territories and I think when I

1:43

think about something that I can do on a daily basis in order to support

1:51

indigenous Resurgence and sovereignty is

1:57

um try and learn things like place names but also even if I struggle to remember

2:03

the place names like one put the effort in but two also to know the

2:12

um translation so that I know what um Le quangan speaking peoples and

2:19

Central speaking peoples what was activated in this space and then now

2:25

kind of what’s also happening as a continuation of this labor that’s

2:30

happened from time immemorial and maybe I’ll let you introduce where you’re coming from today

2:37

yeah I’m joining virtually from the unseated territories of the musk

2:42

Williams what I know of this area is that there

2:48

are many many place names um all around the Lower Mainland and

2:53

umailum and I think each Nation also has maybe different variations of those

2:58

place names as well um so yeah very layered and

3:04

I think that for me what I know about the area that I that I work in

3:09

specifically is um Lotus Elder Amy George

3:17

what she shared with me is that it’s a burial site for her peoples

3:23

and I know that there is a relationship with the Squamish Nation among those

3:29

that specific portion of land and the requests for the city was that they

3:34

built a fence around the burial site and that request was never honored so it’s something I think about too where I work

3:41

spend the majority of my time in yes thank you so much thank you

3:48

um I am so excited to be here with you again today and have this opportunity to

3:55

um revisit our conversation how I kind of got to know you and your work and

4:02

then if you if they’re things that you’d like to introduce as well sure I was really drawn to your work as

4:10

an artist because you’re also a multi-disciplinary artist you work in

4:15

sound you also have a teaching artist practice where you do

4:21

uh kind of like this uh coupling that

4:27

crosses um time time kind of continuums or like

4:32

kind of recognizes the the way that time operates

4:39

simultaneously with past present and future all as as one happening and I was

4:46

really drawn to some of the drawings that you did and some of the work that you did with youth where you’re having

4:54

them um kind of learn about a historical figure

5:00

but then you’re also bringing them into these like very much like contemporary contexts and and

5:09

your methodology is also like the way that you’re

5:15

approaching doing the work is it’s multi-layered

5:20

um in terms of its different artistic approaches and disciplines and also that

5:27

it seemed to be a Common Thread in your work that it was very much

5:33

um rooted in social justice and then

5:38

amplifying voices of um Equity deserving communities and I I

5:45

felt like our practices aligned and as I kind of followed you throughout the

5:50

years and saw how you were also like beginning to share your independent

5:55

practice like outside of your your practice as a teaching artist an educator and so when the opportunity

6:05

to came about to invite different artists to work with the art gallery of Greater Victoria

6:12

um you were one of the first people that I thought of and I was really excited that you say yes that you said yes and

6:19

um the work that you made was so incredible is so incredible and so I’m

6:25

excited to be able to kind of like dig into that today and maybe you would like

6:33

to share a little bit about yourself and your kind of interest in doing the

6:38

project sure well first off thank you for those Reflections

6:44

um it means a lot to hear them from you because you’re also an artist that I really look up to and yeah I do find

6:51

that the way that we work um with different mediums is very similar and it’s yeah just really neat

6:58

to also meet somebody who is working with other groups of people and young people

7:04

um to create things which is not always an intersection that you come across of artists and then also facilitating

7:11

artists as well so yeah my practice I I love the way that you summed it up

7:18

in terms of finding the intersections of past present and future

7:23

um and also really centering the stories of folks that have been historically marginalized and left out from

7:30

narratives around how we’ve come to arrive to this land how we were brought to these lands kidnapped to these lands

7:37

um and also just the different forces at play I think a large part of that comes through my

7:44

identity and for myself I’m an afro-latina person my lineage comes from

7:51

South America from Chile Juan mapu territories Spanish ancestry

7:57

um and the other half of my lineage comes from Jamaica and the lands of erawak and Taino peoples and maroon

8:04

ancestry African ancestry on that side and for me growing up in miscuichi 3d6

8:10

colonial colonially knows it known as Edmonton um

8:15

that was an experience that I never really got to fully immerse myself in in

8:21

terms of really reflecting on my own identity and what it meant to be at the

8:26

intersections of those cultures um nor did I ever see myself reflected in the curriculum when I grew up in in

8:33

Edmonton um and so a lot of that actually came into fruition in my early 20s

8:40

um as I entered University as I also just stepped out of the schooling system

8:46

and explored the world for myself and one of the things that really opened the doors for me was volunteering at an

8:53

arts-based Youth Camp and using my education degree and thinking about it and thinking about the ways that I felt

9:00

that it lacked connection it lacked depth into just like everything that

9:06

youth experience and go through and envision and when I attended that as a volunteer it just totally broke me open

9:12

and and I realized that everybody is an artist everybody has some sort of

9:18

creative element to their lives and I guess it just kind of helped me hone my practice as an

9:26

arts-based facilitator and and also use popular education

9:32

as a way to connect people towards each other’s experiences and also think about the ways that we can also affect future

9:39

not just uh focusing on what has happened in the past and what’s facing us but how can we actually actively

9:45

proactively think about how we determine our futures as well yes beautifully put

9:52

thank you so much yeah in terms of like moving into the work there was something

9:57

that you you’re speaking to your lineage and then your experience growing up in

10:04

what’s known as Colonial colonially known as Edmonton I’m

10:10

thinking about the work that you created and how the two of us

10:17

um have roots in the we’re a part of the African diaspora but you know very

10:22

different lineages like my ancestors the ones that I

10:28

um know of uh I grew up between the Cherokee and Catawba territories that is

10:36

also colonially known as North in South Carolina and like specifically between the the

10:44

mountains and the Foothills and my family goes back for

10:51

six seven generations or more in that area and

10:58

before that I’m I’m not sure but what I find so interesting is that even though

11:04

we have these different threads um the the work that you created very

11:11

much spoke to um a unifying experience and

11:17

you know when I talk about that not only when you’re speaking to

11:23

uh systemic violence but also when you’re speaking to Joy when you’re

11:30

speaking you um when you’re calling it yamaya and then when you’re talking about

11:37

um like Christine sharp has this positioning of kind of like the African

11:45

diasporic experience like being born in the waters of the Atlantic and I think

11:52

that’s in her book in the wake and so I think about your the threads that we have and also

11:59

the threads that are in the work that you created and I’m wondering would you like to describe a little bit

12:07

um the work and and how you came to create it and that really layered manner

12:13

oh there’s a lot to unpack there and just noticing sorry sorry Start anywhere yeah

12:22

um I’m just noticing my own reaction to you as you shared when you’re reflecting on your own lineages as far as I know as

12:29

far as I know of my ancestors and it’s like just that just hit me and it always hits

12:35

me of like how so many of us are the African diaspora we we can’t actually fully Trace back in so many cases

12:42

because that’s something else that’s been stolen from us and and there’s a grief there at least for me there is a

12:47

grief there to not ever know to look at this giant continent and be like somewhere

12:53

yes at some point I was from there I don’t I have no idea from where and just

12:59

just such a sadness for me around that yes um

13:04

yeah and I think maybe that is subconsciously

13:10

and at times consciously like a thread through all my work and when I guess I look at

13:15

um the theme of displacement I think it’s a common theme for so many people across

13:22

the world around how all of our stories in some way or another Connect into displacement whether we have the one are

13:28

the ones that have been displaced or our families have or we are the ones that are actively doing the displacing or

13:34

historically have at some point or another and I think it’s important to examine those histories and um

13:41

yeah in this piece in particular in the soundscape that I created I wanted a way to invite

13:49

people into a corner of my world um of the thoughts that run through my

13:56

head on any given day as I as I walk around um the city

14:01

um and I noticed within myself that I was stumped for a little while around the

14:09

theme of future and you know the prompt of blueprints for an afro future and

14:14

despite my work being really focused on it for myself to reflect on it and to

14:20

not guide a collective process around it where I’m kind of listening to what the voices around me are saying

14:27

um I noticed myself be stumped and and wonder about like what what is what is

14:32

future what is future for black communities in particular what are we building towards and

14:39

you know there’s so much of that that I think the big reason of why I’m

14:44

stumped is because that has been something that historically that imagining that envisioning has been

14:50

historically taken away from our communities and when I think about again

14:55

the the the connecting thread around displacement I think about specifically

15:00

the papal bull and how that document um in the late 1400s set in motion

15:07

um the colonization of essentially any lands that weren’t European um any lands that weren’t Christian

15:13

which was the global majority at that that point in time and how it also enabled the theft of human beings

15:21

specifically so many millions from the African continent and so I think when I when I

15:27

came across a prompt I I’ve started connecting all of these pieces around you know the ones that

15:35

were stolen from across the water that at some point that’s where my lineage comes from

15:41

um and I wanted to speak to that in the piece and I thought about all of those

15:46

that didn’t make it um that you know even on their their

15:51

Journeys making it to the departure points where people were brought on board that a lot of people

15:58

um collapsed and didn’t make that journey and how many people uh passed away on those ships because of

16:05

the conditions that they were carried in and how many people also jumped off as a form of resistance as a way of like you

16:10

will never enslave me you will never control my future and that was a big piece that I wanted

16:17

to be included in that is those acts of resistance and placing

16:23

all of these threads through time and space and also bringing us into the present now and for me now is when I

16:29

think literally about future it’s the kids that I work with it’s the young people that I work with they are the

16:35

Next Generation Um especially when I’m working with high school kids it’s like I see that turn around happening within five years of of

16:42

people taking that knowledge and and doing something with it but um I really wanted to focus on the

16:48

younger voices of the children in and around the involvement with me in some

16:53

way or another in my life or through community and I thought that their voices were

17:00

really important to Center in this soundscape

17:05

as well as those voices and naming the names of the people who are no longer

17:10

with us due to Colonial violence due to police violence and white supremacist violence and we can’t have conversations

17:18

about future if we’re not also talking about the factors the systems the policing

17:26

forces that endanger our lives every single day that literally take our lives away from us that take community members

17:32

away from us that incarcerate us and that that threat also needed to be

17:37

included when I thought about future because it’s like how do we talk about future and how do we protect future

17:44

at the same time yes how do we ensure a future for ourselves and communities yeah yeah

17:52

that’s it’s beautiful and you also wrote

17:58

you wrote a poem but you also there’s um they’re singing or like a humming in it

18:06

as well as laughter and I was wondering if you could um maybe talk about some of the the

18:14

layers so you have the the voices of the youth and you have the names

18:20

that are being repeated um and you also like have these other

18:26

sound elements in it and I’m I’m just curious as to what your process was

18:33

around including the humming and including the

18:38

um because the way it all worked together um and the way that you experience it is

18:44

incredibly powerful and I found that it hit kind of different parts of my body all

18:51

at once you know but also like it just it had a way of

18:57

of coming in through all of these different access points and I want to talk a little bit about that like the

19:05

laughter the the humming the poem

19:11

yeah um so many points of Entry like you said I

19:18

I think the one of the main threads that the the soundscape starts with is with

19:23

the voice of Robin Maynard and as she lists the names of the people that have

19:29

been killed in police interactions um in so-called Canada in the last decade and

19:35

um that was something that was like I mentioned before really important to ground ourselves in is this conversation

19:41

about future acknowledging that there’s so many that we’ve already lost and

19:47

in conversation with that and contradiction with that in a way are the

19:52

voices of children um kind of chattering laughing playing

19:59

and that was an invitation that I made and I extended out to

20:04

um friends of mine of the African diaspora to just record a moment of play

20:10

wherever they may spontaneously find it in their lives

20:15

um and layered underneath that is um yeah the sound of the Kalimba and for

20:23

folks who don’t know Columba is an instrument that’s indigenous to the African continent and um I can’t fully

20:29

say that I’m fully proficient in it but um I do go through periods of time where I just play with it and kind of just get

20:36

lost in a little bit of a trance little Melody and was playing around with it and started just laying

20:43

um it down on my Looper and just kind of vocally improvising over it to see what

20:49

would come out and layering my own voice harmonizing with it and then just kind of sat with it and and noticed What

20:57

feelings came out for me and um within that I started layering all

21:03

those different components and and yeah I think one of the biggest pieces

21:10

that that at the beginning especially just really Jarred me and that I I noticed and I I get emotional almost

21:16

every single time is a specific clip from a video that was recorded about

21:22

four years ago in the US and it’s the voice of a little girl um Ariel Sky Williams who is talking to

21:30

her dad about what she does um to practice any interactions with

21:36

police that she may have even as a young girl she’s eight years old and hearing her voice and then hearing

21:42

the laughter and hearing the humming and like this almost like lullaby the

21:47

soundscape was something that just completely transformed the piece for me

21:54

and and helped open the pathways of where I wanted to take it really because it has this um

22:03

this to be both heartbreaking

22:09

um and it it just resonates you know so

22:14

it’s so real like yes that is the experience these are the conversations that are being had between parent and

22:21

and child you know yeah I don’t think also that that people

22:28

who are non-black think about and and that was something that I wanted to bring in because there comes a point

22:33

where we read statistics we see the media we see the headlines of people being lost of such and such police

22:39

interaction or you know uh white supremacist violence incident

22:46

but but we never know the other side of it of what it actually means to

22:52

grow up with that and grow up with having to set certain protocols or teach

22:59

your kids certain things so that they will survive in this world and that to me was an important window to bring also

23:06

non-black listeners into the piece and into the experiences that so many of our

23:11

communities go through and have gone through yes yes no that’s it’s

23:16

incredibly powerful and just that acknowledgment that even if you are not

23:22

necessarily the to die by this violence like there is

23:29

something that is continually being shaped and reshaped you know like you’re

23:35

you’re constantly um navigating and um

23:41

and rather than being able to focus on

23:47

um how the world can support like you’re

23:52

also needing to navigate and these are the systems that

23:58

are designed to to end my existence like to end what I have to offer this world

24:05

and like yeah and so foreign

24:12

[Music] directly it is indirectly and

24:18

and directly even if it’s not physical like it’s it’s shaping you so thank you for that

24:26

um another question that I had was you know

24:31

if there’s something that you really want people that listen to your soundscape and experience the work

24:39

um what it is you’re hoping will land with with folks or if that’s completely

24:45

open maybe you don’t have a I mean I do feel that it’s it’s pretty

24:52

open and again the reason that I I wanted to to

24:57

go with soundscape because I I really do see the possibility for certain

25:04

um elements to hit you in different ways and depending on where you’re at or what

25:10

you’re thinking about or what your point of connection is um you’re going to be paying attention to

25:16

certain parts more than others and I think that’s okay and

25:21

um and at the same time I wanted people to understand that

25:30

these things are always relevant to communities of the African diaspora

25:35

whether it be black history month or not um or whether it be

25:41

the next time an incident of white supremacist violence or police involved shooting happens

25:48

um it’s it’s always within our community these things that we have to navigate

25:53

these barriers and these these threats to our lives that we have to navigate and

25:59

I think for me I wanted people to also carry that in their hearts still

26:06

because what I’ve seen happen and in conversation with another member of the community who was a young person through

26:14

the LA riots and saw this cycle of people feeling mobilized people feeling

26:21

like they wanted systemic change to happen that no more violence against black people that systems needed to

26:28

change and and the feeling of Hope and momentum and seeing that same cycle happen again with the murder of George

26:34

Floyd and and two three years later we’re seeing that same kind of movement

26:41

dwindle and if not go back to exactly the place where they were prior to his to his death go back even

26:48

maybe to a place where we’re even more in danger because a lot of people have a

26:54

sense that things have changed when they actually haven’t and so I think for me I wanted to leave people

27:00

in their awareness of these are children that we’re talking about these are the next generation of young ones of people

27:08

that are going to go out into the world um and change the world potentially but they need to have their survival insured

27:16

and and that needs to happen through focusing resources on you know the lives

27:22

of black kids it needs to happen through um protecting their Futures and looking

27:29

at things that structurally um put them in places of harm that

27:34

structurally put them in places where they’re more likely to be involved as police or not have enough supports

27:40

around mental health um all of these things I want people to to understand that uh it’s it carries it

27:49

carries Beyond just the month or the headline um or the Year yes yeah and there’s a

27:55

lot of work to be done in that and it’s always immediate yes exactly I think about you know when you

28:02

mention um creating these safer spaces for Youth

28:07

and um and notice that I received from my teenagers school where they’re

28:15

you know really uh fighting to have a

28:21

police at the school and

28:26

and how we’re like that is absolutely the last thing that we need you know

28:32

what I mean like that is that is not how we begin taking these systems apart that

28:38

is again like it is cementing a system that is problematic and deadly

28:45

you know so thank you for mentioning um yeah and I’ll just add do something

28:52

that I was reflecting on the other day is that music has always been uh means for our communities to

28:59

come together and organize and talk about the issues facing us and

29:04

um I even think about the conjugly riots in Trinidad that started because too many people started drumming

29:11

um and that drumming also brought together communities of African descent and also South Asian communities

29:16

together and talk about the conditions that they were working on and working in

29:22

and forced to work in and talking about freedom and I’m also thinking about

29:27

pretty much in every single genre that um people of African diaspora create

29:33

musically there is always a thread going back to the impact of policing on our lives and I would argue that there’s

29:40

maybe no other genre by predominantly like non-black folks that have that same thread I was

29:48

thinking about you know songs about like old folk songs that still talk about the impact of policing in our lives and

29:54

thinking about reggae songs um that talk about that same impact blues songs and it just makes you think

30:01

for a second I’m just like I would be hard-pressed to find another genre from non-black artists that that carry

30:07

that same thread for as long as as we’ve had to carry it for exactly yeah

30:14

um because I don’t often get to share in public spaces the desires that we have

30:21

for ourselves and our own lives and there’s a Storyteller uh hallease by the

30:28

name hallease named after her grandmother and she’s a pretty popular YouTuber and does a lot of adobe

30:37

um like she had an artist in Residence with Adobe Creative as well as uh

30:43

teaches a number of workshops on skillshare and she said the way that she got into

30:49

um youtubing and and filmmaking storytelling was because she knew that

30:54

if she didn’t tell her own story there was a possibility that someone else was telling the stories for her she

31:02

was kind of specifically thinking about Sandra Bland because she was also in Texas at that time and so I’m asking you

31:10

personally what is it that you want for your future

31:16

yeah that’s a great question um I think the first thing that comes to

31:21

mind because of that quote is um I want to write a book

31:26

um I want to write a book rewrite a book about the life of seraphim Fortes and um

31:33

and so actually it could have really been thinking about too uh an Audrey Lord is my reference point to that the

31:39

same idea of like you know so it wasn’t for me writing I’d be crunched into other people’s imaginings and desires

31:47

um and yes absolutely is that something that I’d like to do I’d also am

31:55

gonna some way figure out a place for myself and my partner and my mama who’s

32:01

aging to live together and have solid housing um which is which is so foundational to

32:08

be able to have that security to work from to create to support others from

32:16

and I would love to just focus a little bit more inwards on my own art and

32:24

creativity in the next while um still immersed with you know the

32:30

physical training the body positive training that I do um for for others and also for myself

32:37

um but also I would like to see myself shift more into my own work in this next uh kind of span of time

32:44

um more specifically because what I what I realized actually around the time of the murder of George Floyd was that I

32:51

was putting in all of my resources to educate and create change which I needed to do and I felt that I needed to do at

32:58

that time um and not realizing also the impact that it was having on my spirit and the

33:05

impact that it was also having on my body as somebody living with as and like already prone to stress inflammation and

33:12

realizing too that when I talk about these heavy topics when I hold these heavy topics in my body and help others

33:18

work through which there is a lot of value and need for but I also carry that home in my body and it lives with me and

33:25

so it was actually since then that I’ve started shifting more into my own arts practice and working more with youth

33:31

um and yeah I’d like to see myself continue more of that creation reflection process for myself in in the

33:39

next while thank you may I ask

33:44

what is maybe one thing that this world could do to support you

33:53

[Music] um I think a really great way to support me

33:58

would be to support my work um online and virtually and share my

34:03

work and this is huge because what’s happening to a lot of black and fat and

34:10

queer content creators is that we are getting censored through Instagram and other social media platforms

34:16

um and slight tangent but I noticed actually the other day when I looked at my least interacted with accounts that

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were actually all black run accounts um that I would love to see more of in

34:28

my feed but I’m not seeing any of it and so that’s a really great way that people can share to follow stay updated turn on

34:35

your notifications for my posts on Tierra negative arts on Instagram autonomy ybr on Instagram and stay tuned

34:42

with my website as well um and also like I’m I’m not shy about also receiving donations if you’re

34:49

feeling like you know I just really want to support this person in whatever way that they see fit and in terms of buying

34:57

a coffee for that person or maybe this enables you to take a step closer towards your homework or anything like

35:03

that or getting a nice like physio treatment or something I’m I’m game for that and I think those are the most

35:09

meaningful ways to support me at this point in time thank you thank you to speaking thank you for speaking to your

35:16

needs and your desires and thank you so much for the beautiful work that you

35:23

create and put out into the world thank you I actually just thought of

35:29

something the piece ends with an affirmation that the children are all

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saying out loud um and so when I listen to it it brings me to tears to to hear them saying it’s

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so confidently and just putting that out into their bodies into the world

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um and that for me was so important because it’s it’s the voices of

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um African diaspora Youth and it was their voice it was their voices being

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recorded after we had read a book by Mariam Kaba together that talks about

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the impacts of incarceration disproportionately on the black indigenous communities and after reading

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that storybook they had been sitting with these feelings of deep sadness as

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one of the children expressed and were very quiet and reflective and for me as

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a facilitator I didn’t want to leave them with that and I thought ahead of how do we also shift this and get them

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to recognize their own genius and their own magic and you know their own Supreme

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beingness and I thought immediately about affirmation work and so that piece

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was really important to carry us into future of that affirmation being spoken

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by the Next Generation into future and that’s exactly what they’re going to be

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beautiful loved blessed and free and

36:59

yeah it’s a beautiful affirmation from another fellow African diaspora artist

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so yeah yes no thank you because that that is

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um such a critical part of the experience or participant so again thank you so

37:18

much yeah yeah absolutely well I will end this here but I hope

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that you have um an incredible

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Year and that that everything that you are just like calling in and speaking to

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existence that the ancestors are listening and The Descendants are listening and they’re carrying your

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hopes your dreams and desires um into this world where we all get to

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experience them alongside you um thank you thanks so much Kim

37:58

beautiful

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