Postgraduate Studies Fund for d'bi.

$25,374 of $75,000 goal

Raised by 101 people in 2 months

Good evening my dear family, friends and the villages that have raised me. I hope you are happy, healthy and inspired. It's been a long time communicating with you
25 years infact since I moved from the garrison town of Maxfield Avenue Kingston 13 to Toronto Canada at 15 years old and you have played such a crucial part in who I have grown to be and in who I am still still becoming.

Over the 25 years I have created poetry, theatre, and educational arts programs to challenge the absence of training spaces for Black, queer and POC artists As a student of Toronto's Fresh Arts Program, I have truly been raised by entire villages of people and you know who you are. And I have used my talents, skills, accolades, finances and public attention
to pour energy directly back into my communities. This is what I was taught to do as a responsible human being
and I love doing it :)

The Watah Theatre
Anitafrika Retreat Centre
D'bi & The 333 Afro-Dub-Fusion Band
d'bi.young anitafrika Professional Website
Books, Cds and Plays by d'bi.young anitafrika
Spolrusie Publishing - BIQTIPOC Micro Press
Anitafrika Method Research Project with Women's College Hospital in Toronto Canada

Total $75,000 CAD To Be Raised
The Breakdown - One Year Masters Program
$10,000 Food
$30,000 Tuition
$24,000 Housing
$2000 Ground Transportation
$3000 Airfare for three Return Trips
$6000 Housing-related costs (gas, internet, toiletries, personal products)

Winner of the KM Hunter Theatre Award 2010

You have supported me through it all; infact it would none of it would have been possible without your support. You supported my first ambitious project, Anitafrika Dub Theatre where I taught tuition-free year-long professional theatre residencies to artists such as Amanda Parris, Kim Katrin Milan, Liza Paul and Bahia Watson, volunteering my time to create and run the space.

You Village(s) have supported my most recentambitious project, The WatahTheatre which has trained scores of artists through its tuition-free and subsidised arts programs as well supporting artists such as Anique Jashoba Jordan, Babette B Burrell, Najla Nubyanluv, Tuku and Raven Dauda, volunteering to nurture this necessary institution.

Headline Performance at Dub Poetry Festival 2004

And you dear Village have supported my international initiative - the Yemoya International Artist Residency where I have mentored artists such as Che Kothari, Randell Adjei, Anthony Gebrehiwot, Titilope Sonuga, Mriga Kapadiya, Ngozi Paul and Machel Montano, to name a few. So many have benefitted from the support you have provided me with, dear Village. So many have grown through the Anitafrika Method
and now I am coming to you directly to help me, an artist, to grow.
d'bi.young anitafrika Performance Reel 2018

I am a playwright-performer, director-dramaturge and emerging scholar as well as a sole-parent mother of two Black boys and I dream of returning to school to study Feminist Black Performance and Generational Trauma
in the Black Body. I have created an autoethnograhic praxis called the Anitafrika Method which I have taught globally ( http://dbiyounganitafrika.com/the-anitafrika-method/) which I will be theorising at Goldsmiths, University of London in order to create new educational practices around self-actualization, creativity and leadership from a feminist, de-colonialist lens.

Could you help me? Feminist scholarship and Black queer feminist scholarship are crucial and incredibly under-funded and under-supported. I am having a very challenging time raising the money to go to school. If I don't raise the money, I will be unable to pursue this dream and so I am asking for your support.

The Sankofa Trilogy Trailer 2012

I need to raise $$75,000 Canadian Dollars
Can you PLEASE HELP ME by Donating to my funding campaign?

1.if you are able to contribute please do www.GoFundMe.com/dbimafund
< http://www.gofundme.com/dbimafund>
2.if you are able to spread the word please do - Flyer Attached
3.if you able to connect me with any Black and or feminsit group or any others who may be interested in supporting me please do
4.if you have or know of any events coming up who may want to book a queer Black, feminist poet-speaker, please pass on my email

Anitafrika Dub Theatre 2008-2010

Why I Want to Attend Goldsmiths:
For the past decade I have been diligently crafting  this framework, praxis,  method, and approach to artistic training and human development that is grounded in integrity, intersectionality, feminism, love and the awareness of the complexities of oppression and how we proliferate it. Hundreds of artists and people globally, have co-created the growth of the Anitafrika Method by participating in my national and international artist residencies through ongoing workshops at the Anitafrika Dub Theatre followed by Yemoya, then The Watah Theatre & School & now the Anitafrika Retreat Centre.

The Watah Theatre 2014-2018

Through all of these projects, I have provided primarily tuition-free professional development opportunites to young people who otherwise would not have had access to such training. I also founded the micro press, Spolrusie Publishing as an extension of my commitment to provide a platform for emerging artists to archive and canonise their works, despite the absence of publishing opportunities from mainstream houses. So far the press has produced three Drama anthologies, three books of poetry, two children's books, one book of photography and a deck of cards illustrating the Anitafrika Method. The world has indeed been my lab.

Poem for Michael Brown

I have been thinking deeply about trauma and the way trauma impacts our entire humanity, in fact our entire planet. Working with myself and artists over the past 20 years, the root that we always end up digging up is trauma. Trauma is generally defined as ‘a deeply disturbing and distressing physical, emotional, psychological, sexual, and or spiritual experience that impacts a person or group long after the traumatic incident or period.’ Where does this definition leave us all in this world of interconnected overlapping and intersecting systems of oppression? Are we all traumatized? And if we are all functioning from a place of trauma and don’t know it, how do we begin to heal? This is what I am interested in exploring, through theatre, through activism, through poetry and and through academia. I look at my entire body of creative work and I see an ongoing conversation about the impact of trauma on Black people and our possibilities to heal. Reflecting on the Anitafrika Method and it’s application as a mind-body healing modality, I see that there is a tremendous learning curve that the MA program can provide me with, regarding rooting the method in a practice-as-theory approach. I want to innerstand and further explore the theories around trauma and the Black body.

Anitafrika Method Arts Intervention in the Lives of Womxn Project 2015

Together in collaboration with Women’s Health in Women’s Hands Community Health Centre, I was funded in 2014 by Women’s Xchange through Women’s College Hospital to explore the effectiveness of The Anitafrika Method as a holistic arts­-based health intervention in the improvement of Black Womxn’s health, entitled the Black Womxn’s Sacred Health Research Project. The intent of the project was to promote optimal holistic (creative, physical, mental, emotional and spiritual) health services, resources and toolkits to Black and diverse womxn, by critically exploring innovative health education and advocacy through the development of the Anitafrika Method as ­ an arts informed health intervention. The  Research Question was to explore how engaging with an arts informed health intervention could positively influence the holistic embodiment of health for womxn of colour. Secondary to this, was to also explore how artistic engagement facilitates the development of agency around health within the broader community. The research was revealing of truths we already know regarding how crucial it is to continue to invest in decolonialist mind-body healing modalities such as the Anitafrika Method. To read more about the findings of the research visit The Arts-Based Intervention in the Lives of Black Womxn

Poetry Performance at the YWCA Awards Ceremony 2015

It is this desire to further develop the Anitafrika Method that takes me to Goldsmiths. I want to understand how to contextualize the Anitafrika Method in a World Theatres environment and how to theorise-into-practice the intersectional anti-oppression framework that I am cultivating. I want to dig deeper into exploring the relationship between intergenerational trauma and the Black body and I want to expand on healing practices for the traumatised Black body using the Anitafrika Method.

Why I need your support to do so:
Below are the costs involved in studying in London UK as an international student from September 2018-August 2019.

Total $75,000 CAD

The Breakdown 
$30,000 Tuition
$24,000 Housing
$10,000 Food
$6000 Housing-related costs (gas, internet, toiletries, personal products)
$3000 Airfare for three Return Trips
$2000 Ground Transportation

Studying as an international student means a doubled tuition fee plus everyday living costs. In addition to fundraising, I am researching applicable grants and applying for them. Your support means that I will be able to further my work and use it to continue contributing to the betterment of our planet. 

I intend to explore many questions during my postgraduate studies namely, How did we arrive here, as a people, as Black people, literally, spiritually, emotionally, figuratively? Where is here? Where are we in the global frame(work)? How far have we indeed come? How do I, we, trace the pain that we feel? Is it generational? Is it spiritual? Can theatre be a place to exorcise the contortions of self that I, we experience?  I have been asking these questions of myself, my community, the world, for as long as I can remember. I have amassed a comprehensive body of work that, upon closer inspection, reveals itself to be an ongoing exploration of how Black people have been affected by the Trans Atlantic Slave Trade and how we negotiate the trauma of post-colonialism when the 'post' is fictional.

Black Lives Matter by d'bi & the 333

Studying world theatrical traditions through a critical intersectional, anti-oppression, decolonialist lens is what I am seeking, in order to contextualize my work. I desire to be a part of a radical scholarly community who are committed to asking the questions and seeking solutions through creative collaborative analytical processes, grounded in storytelling, theatre and performance. I choose to study World Theatres at Goldsmiths, University of London, so that I can be exposed to multiple perspectives, aesthetics, politics and frames of reference in order to expand my own understanding of what is possible in this infinite space of theatre-making. I am also in search of mentors, guides, and teachers who are rigorous, disciplined and excellent. Being guided by the wisdom and eldership of the Head of The Department Professor Osita Okagbue , who himself specialises in African and Caribbean theatre as well as and the scholars of the Theatre and Performance Department of Goldsmiths, University of London, is a dream come true. Please help it to materialise into reality.

d'bi young anitafrika Keynote Performance at INK in association with TED, India

Finalist of the 2017 Ontario Premier Arts Awards for Theatre and Literature, d’bi.young anitafrika is one of 200 Canadian artists to receive a New Chapter Grant to produce her critically acclaimed environmental musical entitled Lukumi: A Dub Opera, which world premiered to critical acclaim in Fall 2017 at Tarragon Theatre in Toronto Canada. The winner of three Dora awards for plays Blood.claat and Mami Wata, which appeared in her first and second trilogies, anitafrika’s other awards include: Canadian Poet of Honor, YWCA Woman of Distinction in the Arts, Mayor’s Arts, Vital People, KM Hunter Theatre Award and The Golden Beret Award.

She is an internationally celebrated African-Jamaican dub poet, playwright-performer, arts-educator, and Founding Artistic Director of Watah Theatre, Anitafrika is also the instigator of Spolrusie Publishing, a unique micro press which publishes original works by Black and diverse creators. Toronto Leadership Lab Fellow alumni, anitafrika is the originator of the creative leadership praxis and intersectional liberation framework - the Anitafrika Method, which has been utilized by The Stephen Lewis Foundation, The Banff Centre, U of T, MaRS, Women’s College Hospital as well as other institutions globally.

The Watah Theatre by Paul Ohonsi

She is the published author of seven books, nine plays and seven dub albums and has toured her work nationally and internationally. Her most recent projects include 1. Completing her autobiography Memoir of an Ugly Duckling 2. Establishing the Anitafrika Retreat Centre in the mountain forests of Costa Rica where she teaches artists from all over the world 2. Producing Lukumi: A Dub Opera on large stages globally and 3. Travelling the world as a Keynote Speaker addressing issues of identity, gender, sexuality, divinity, the erotic, race, class and the human experience through her Anitafrika Method.

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Good morning everyone. Guess what? The campaign has reached $25,000. Congratulations and Thank you. The next goal is $30,000. Can you spread the word to help me get there? Thank you for your support and solidarity so far. Onwards and onwards. - d’bi.young anitafrika
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I am almost 1/3 of the way towards my goal to raise money to research Black Performance and Trauma Recovery using the Anitafrika Method at Goldsmtihs University of London. I have raised $23,000 out of $75,000. ANY AMOUNT and I do mean ANY AMOUNT, $5 is WELCOMED, you can contribute towards the goal is DEEPLY appreciated! My Grandmother always impressed upon me 'One one coco fill basket.' A little bit at a time from everyone can make this happen. Thank you to all of you who have contributed thus far and spread the word. My gratitude knows no limits. I am committed to sharing the lessons I uncover in this upcoming part of the journey. My dear Village THANK YOU. Please continue SPREADING THE WORD. I still have a ways to go. - d'bi.young anitafrika
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Good morning Village, your weekend love has brought the campaign up to $20,000+. I want to weep with gratitude. Thank you for all of you who keep whispering to me ‘You are going to London d’bi. We got you.’ It’s not easy sometimes to believe in love, especially when external and internal anti-Black hate teaches jealousy, violence, disintegrity and self-loathing, but you Village, you are teaching me about self-healing and solidarity, you are teaching me about your belief in my growth, in my work and not wanting me to give up. You are teaching me to not crumble under to pressure that comes with being working class and having to ask for support because you need it. There is so much that this moment is helping me to grow through.

Growing up in the garrison town of Whitfield next door to Trench Town was a challenge. I learned so much and it was hard. The classism of poverty in Jamaica was incredible. Not having money and being trained to never to ask for it because that showed that you were ‘poor’ and ‘poor’ was taught to be shameful. Or then being able to ask for money and made to explain why you need/ deserve it to be given to you.

Structural impoverishment is not accidental. It is connected to class, race, gender, sexuality, patriarchy, social status and our imperialist colonial-capitalist history and current reality, of which I am a part of. Being an accomplished artist, some say ‘national treasure’ who is unable to find adequate support through funding is not disconnected from my profession, political positioning, race, class, sexual orientation, gender and status.

It’s a difficult topic to talk about because it triggers my class uncomfortabilities. It disrupts my political choice to approach my challenges from a positive empowered space and it forces me to confront the reality that not all are for me or are invested in my success. This part is painful, especially as I have tried so hard to invest in others. What you are teaching me Village is to take the bitter with the sweet. I kiss your feet with gratitude and appreciation. I Honor you with love and dedication and I promise you that I will keep trying. I will keep trying. Thank you for supporting me ♥️♥️♥️.
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Hello Village, good morning. It’s been a very busy period. Raven Dauda opened and closed Addicted, a play that was developed over the post few years using the Anitafrika Method. I had the honor of Dramaturging and Direcring it. It was an incredible success. I am now working with Daniel Jelani Ellis on Speaking of Sneaking which is a part of the Riser Project at Theatre Centre. More to come on that. The last few days I have been in Ottawa taking part in the W7 Summit with global feminists to bring a feminist agenda to the G7. We wrap up today and I am writing a poem to be delivered for closing. This is the work I thank you for supporting. My funding campaign continues. Please contribute and continue spreading the word. I thank you deeply.
In Ottawa at the W7 Summit
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$25,374 of $75,000 goal

Raised by 101 people in 2 months
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