As a current student of University of California San Francisco’s doctoral program in medical sociology, I have been diving deeply into questions around medicine, mortality, and morality. My research projects include understanding the impact and implementation of CA’s End of Life Options Act, as well as decision-making in pediatric palliative and hospice care spaces when the patient in question is an adolescent or young adult. In addition to my scholarly work, I am involved in student advocacy efforts that include reforming mentorship practices, advocating for a more nuanced understanding of diversity-related issues, and promoting interdisciplinary efforts between degree programs and administration.
Related areas of interest include: chronic illness, body politics, afrofuturism, youth and aging, bioethics, interdisciplinary/multi-origin knowledge production, classical versus contemporary social philosophies, and memorialization. Through work, advocacy, and leadership experiences, I actively seek out learning opportunities that require my engagement with dissimilar bodies of knowledge.
an evolving creative practice, j.habitus signifies the arts-centric practices of which I am primarily responsible for the manifestation of the work or am a primary collaborator. these works are often movement-centric and emphasize process over product, and are evidenced through live performances, film, photography, writing, advocacy, and the teaching of youth and adult dance classes.
collaborators have included: Lizzy Mulkey, Richard Jackson, Suzy Myre, Allegra Bautista, Lydia Clinton, Jerica Niehoff, Caitlyn Casson.
learn about or join the 28 stimulations practice for a better understanding of this work.
Over the years, I have had many diverse opportunities to collaborate with artists and contribute to the presentation of their work. My experiences in these often vastly different processes, disciplines, and practices continually inform how I view my own practice and the dialectical relationship of art-lifeworlds. From costume designing to singing to learning dance choreography to contributing choreography to acting to speaking to playing dance games…I have been blessed in the variety of roles and subsequent quality of mentor/relationships.
My interest is often piqued by projects that are thoughtful, physically/intellectually/spiritually challenging, and are interdisciplinary in their process or production. This had led me to becoming a “Super Serious Postmodern Dancer” in a dance-comedy variety show at a bar in San Francisco as well as embodying thresholds in history and art in an ongoing action at the Highline park in New York City. I look forward to engaging in more cocreation projects as I further develop my artistic/academic selfhood.