My family never identified as Creole. We always identified as Black. Creole was an integral aspect of our lives, but we embraced it as a way of life; we didn't identify as it. As I create this work my thoughts are circling around my Creole ties and notions of bloodlines and legacy.
A few years ago I was asked by a non-profit organization to dance Isadora Duncan's Marseillaise at one of their events. The problem was that The Marseillaise is a lost choreography! There are no pictures or video from performance.
One time when I was young my father asked me to help him in the shop by sanding some wood. I began sanding the board against the grain. When my Dad barked at me for it I threw the sanding block down and never helped him again. So perhaps it’s fitting that for the past thirteen years my work has focused almost exclusively on the natural beauty of wood.
Camerin Allgood McKinnon explains some of the roots and process of the modern dance technique "Safety Release".
I grew up in the suburbs of DC, in Vienna, Virginia, and I can remember sitting in my grade school classroom enthralled by the paintings in the...